"Born of a terrible insomnia wchich E. M. Cioran called "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 metaphysical revelations. An exorcism of despair, this book offers insights into the ironic anguish of Cioran's philosophic mind while providing fascinating information on his early development as a writer and thinker."

Hegel's "highway of despair," introduced in his Phenomenology of Spirit, is the tortured path traveled by "natural consciousness" on its way to freedom. Despair, the passionate residue of Hegelian critique, also indicates fugitive opportunities for freedom and preserves the principle of hope against all hope. Analyzing the works of an eclectic cast of thinkers, Robyn Marasco considers the dynamism of despair as a critical passion, reckoning with the forms of historical life forged along Hegel's highway. The Highway of Despair follows Theodor Adorno, Georges Bataille, and Frantz Fanon as they each read, resist, and reconfigure a strand of thought in Hegel's Phenomenology of Spirit. Confronting the twentieth-century collapse of a certain revolutionary dialectic, these thinkers struggle to revalue critical philosophy and recast Left Hegelianism within the contexts of genocidal racism, world war, and colonial domination. Each thinker also re-centers the role of passion in critique. Arguing against more recent trends in critical theory that promise an escape from despair, Marasco shows how passion frustrates the resolutions of reason and faith. Embracing the extremism of what Marx, in the spirit of Hegel, called the "ruthless critique of everything existing," she affirms the contemporary purchase of radical critical theory, resulting in a passionate approach to political thought.

Since its inception philosophical thought has been fixated by death. Death, as much as life, has been the unrelenting driving force behind some of history’s greatest thinkers. Yet, for Emil Cioran, a Romanian-French philosopher, even philosophy cannot attempt to understand nor contain the inevitable unknown. Considered to be an anti-philosopher, Cioran approached and reflected on the human experience with a despairing pessimism. His works are characterised by a brooding, fatalistic temperament that reveals and defines itself in his irony, black humour and inimitable style. Although Cioran’s later works have received much scholarly recognition, little attention has been paid to the texts he wrote in his adolescent. Grounded in the historical context of interwar Romania, this book presents for the first time an analysis of the little-known works of this pioneering Romanian thinker. Deeply affected by his upbringing, this book offers a glimpse into Cioran’s first attempts to delve into philosophical enterprise, before turning its attention to his later works, On the Heights of Despair (1934), The Transfiguration of Romania (1936) and Twilight of thoughts (1940; written in France). Using both the French and Romanian editions of these works, but also their original manuscripts, this volume seeks to provide a re-reading that takes language rather than a social or political critique as its focal point. As an important and provocative contribution to the existing literature on Cioran, this book will be an essential point of reference for students and researchers, alike.

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.

Hailed as one of the most important works on the Hitler period, this is an “astonishing, compelling, and unnerving” portrait of life in Nazi Germany between 1936 and 1944—from a man who nearly shot Hitler himself (The New Yorker) Friedrich Reck might seem an unlikely rebel against Nazism. Not just a conservative but a rock-ribbed reactionary, he played the part of a landed gentleman, deplored democracy, and rejected the modern world outright. To Reck, the Nazis were ruthless revolutionaries in Gothic drag, and helpless as he was to counter the spell they had cast on the German people, he felt compelled to record the corruptions of their rule. The result is less a diary than a sequence of stark and astonishing snapshots of life in Germany between 1936 and 1944. We see the Nazis at the peak of power, and the murderous panic with which they respond to approaching defeat; their travesty of traditional folkways in the name of the Volk; and the author’s own missed opportunity to shoot Hitler. This riveting book is not only, as Hannah Arendt proclaimed it, “one of the most important documents of the Hitler period,” but a moving testament of a decent man struggling to do the right thing in a depraved world.

"A brilliant and original exponent of a rare genre, the philosophical essay. Once read, Cioran cannot fail to provoke reaction. New York Times Book...