Against Interpretation
...fore, what is to stop her own work from coming under this blade of criticism? Sontag’s preparation for this criticism shows in the inclusion of her final statement. She has, in effect, laid a trap for the modern critic (who just happens to be you, me, and practically every other reader) with her final statement as the bait. Once the critic picks apart that last sentence, he will see, with greater clarity, the veracity of her work. Throughout this work, Sontag makes many statements that invite interpretation. Critics may analyze her repeated references to Greek literature or possibly her use of sexual imagery, but none could ignore the simplicity, brevity, and word choice that characterize the concluding sentence. The brevity of the final section is what catches the critical eye and the lurid choice of words is what pulls the critic in. The first question that the interpreter finds him/herself asking is, Why “hermeneutics” and why “erotics”? There must be some significance to these terms. Analysis of these terms reveals the two extremes which Sontag has been comparing throughout her piece; “hermeneutics” being an ideal term to describe the type of over-intellectualization that takes place with modern interpreters, and “erotics” being ideal for describing to just what extreme Sontag thinks art should be experienced. When the critics finally “excavates” this statement and, “...digs behind the text, to find a sub-text, which is the true one,” he finds, low, and behold, the reinforcement of the very statement that Sontag has been inculcat...