Born of a terrible insomnia--"a dizzying lucidity which would turn even paradise into hell"--this book presents the youthful Cioran, a self- described "Nietzsche still complete with his Zarathustra, his poses, his mystical clown's tricks, a whole circus of the heights." On the Heights of Despair shows Cioran's first grappling with themes he would return to in his mature works: despair and decay, absurdity and alienation, futility and the irrationality of existence. It also presents Cioran as a connoisseur of apocalypse, a (...) theoretician of despair, for whom writing and philosophy both share the "lyrical virtues" that alone lead to a metaphysical revelation. "No modern writer twists the knife with Cioran's dexterity. . . . His writing . . . is informed with the bitterness of genuine compassion."--Bill Marx, Boston Phoenix "The dark, existential despair of Romanian philosopher Cioran's short meditations is paradoxically bracing and life-affirming. . . . Puts him in the company of Nietzsche and Kierkegaard."-- Publishers Weekly, starred review "This is self-pity as epigram, the sort of dyspeptic pronouncement that gets most people kicked out of bed but that has kept Mr. Cioran going for the rest of his life."--Judith Shulevitz, New York Times Book Review Emil M. Cioran (1911-1995) is the author of numerous works, including The Fall into Time, A Short History of Decay, and Tears and Saints. (shrink)

Romanian born E.M. Cioran, who lived in Paris until his death in 1995, writes of politics, of history, and of the utopian dream. "Cioran has a claim to be regarded as among the handful of original minds... writing today".--NEW YORK TIMES.

Dubbed “Nietzsche without his hammer” by literary critic James Wood, the Romanian philosopher E. M. Cioran is known as much for his profound pessimism and fatalistic approach as for the lyrical, raging prose with which he communicates them. Unlike many of his other works, such as On the Heights of Despair and Tears and Saints, The New Gods eschews his usual aphoristic approach in favor of more extensive and analytic essays. Returning to many of Cioran’s favorite themes, The New Gods (...) explores humanity’s attachment to gods, death, fear, and infirmity, in essays that vary widely in form and approach. In “Paleontology” Cioran describes a visit to a museum, finding the relatively pedestrian destination rife with decay, death, and human weakness. In another chapter, Cioran explores suicide in shorter, impressionistic bursts, while “The Demiurge” is a shambolic exploration of man’s relationship with good, evil, and God. All the while, The New Gods reaffirms Cioran’s belief in “lucid despair,” and his own signature mixture of pessimism and skepticism in language that never fails to be a pleasure. Perhaps his prose itself is an argument against Cioran’s near-nihilism: there is beauty in his books. (shrink)

This collection of eleven essays originally appeared in France thirty years ago and created a literary whirlwind on the Left Bank. E.M. Cioran writes incisively about Western civilizations, the writer, the novel, mystics, apostles, and philosophers. "An intellectual bombshell that blasts away at all kinds of cant, sham and conventionality... ". --Jonah Raskin, L.A. WEEKLY.

The two truths -- The addict of memoirs -- After history -- Urgency of the worst -- Stabs at bewilderment.

" He asked himself if saints could be "the sources of tears' better light." "Who can tell?" he wrote in the first paragraph of this book, first published in Romania in 1937. "To be sure, tears are their trace.