Set in Alabama at the scene of James Agee and Walker Evans's famous
reporting, Let Us Now Praise Susan Sontag brings Sibyl Kempson's
attention to the ethical snares of poetic journalism and what it means
to work on the land. She interrogates the strange energy of images, both
their potential to anesthetize response, and their invitation to be
approached as hermeneutic thresholds between visible and invisible
orders. Interwoven with sources from Agee and Walker to Sontag, to
inscriptions on Assyrian mythological seals, and nested in a set of
images from other performances, the play holds forth in its own genre, a
bad-ventriloquism visitation seed-eating prayer ceremony with songs. The
entire score, composed by Kempson's longtime collaborator Ashley Turba,
completes the book.