“An accessible, anecdotally rich” biography of the profoundly influential 19th century philosopher, author of Beyond Good and Evil and The Will to Power (Kirkus Reviews). Friedrich Nietzsche was the most fearlessly provocative and original thinker in Western history. The protean diversity of his writings make him one of the most influential of modern philosophers, yet his often paradoxical statements can be properly understood only within the context of his restless, tragic life. Physically handicapped by weak eyesight, violent headaches and bouts of nausea, this Nietzsche made short shrift of self-pity and ostentatious displays of compassion. The son of a Lutheran clergyman, whom he adored, he became a fearless agnostic who proclaimed, in Thus Spake Zarathustra that “God is dead!” Curtis Cate’s refreshingly accessible new biography brilliantly distills and clarifies Nietzsche’s ideas and the reactions they elicited. This book explores the musical and philosophical influences that inspired his thought, the subtle workings of his creative process, and the acute physical suffering he combated from his adolescence until his final mental collapse of January 1889. Cutting through the academic jargon and clearing away the prejudices that have become associated with Nietzsche’s name, Cate reveals a man whose ideas continue to have prophetic relevance and incredible vibrancy today.

Abstract images and simple poetry introduce children to basic ideas about themselves and the world they live in.

This book is a thorough study of Nietzsche’s thoughts on nihilism, the history of the concept, the different ways in which he tries to explain his ideas on nihilism, the way these ideas were received in the 20th century, and, ultimately, what these ideas should mean to us. It begins with an exploration of how we can understand the strange situation that Nietzsche, about 130 years ago, predicted that nihilism would break through one or two centuries from then, and why, despite the philosopher describing it as the greatest catastrophe that could befall humankind, we hardly seem to be aware of it, let alone be frightened by it. The book shows that most of us are still living within the old frameworks of faith, and, therefore, can hardly imagine what it would mean if the idea of God (as the summit and summary of all our epistemic, moral, and esthetic beliefs) would become unbelievable. The comfortable situation in which we live allows us to conceive of such a possibility in a rather harmless way: while distancing ourselves from explicit religiosity, we still maintain the old framework in our scientific and humanistic ideals. This book highlights that contemporary science and humanism are not alternatives to, but rather variations of the old metaphysical and Christian faith. The inconceivability of real nihilism is elaborated by showing that people either do not take it seriously enough to feel its threat, or – when it is considered properly – suffer from the threat, and by this very suffering prove to be attached to the old nihilistic structures. Because of this paradoxical situation, this text suggests that the literary imagination might bring us closer to the experience of nihilism than philosophy ever could. This is further elaborated with the help of a novel by Juli Zeh and a play by Samuel Beckett. In the final chapter of the book, Nietzsche’s life and philosophy are themselves interpreted as a kind of literary metaphorical presentation of the answer to the question of how to live in an age of nihilism.

AN NYRB Classics Original In 1869, at the age of twenty-four, the precociously brilliant Friedrich Nietzsche was appointed to a professorship of classical philology at the University of Basel. He seemed marked for a successful and conventional academic career. Then the philosophy of Schopenhauer and the music of Wagner transformed his ambitions. The genius of such thinkers and makers—the kind of genius that had emerged in ancient Greece—this alone was the touchstone for true understanding. But how was education to serve genius, especially in a modern society marked more and more by an unholy alliance between academic specialization, mass-market journalism, and the militarized state? Something more than sturdy scholarship was called for. A new way of teaching and questioning, a new philosophy . . . What that new way might be was the question Nietzsche broached in five vivid, popular public lectures in Basel in 1872. Anti-Education presents a provocative and timely reckoning with what remains one of the central challenges of the modern world.

Reading Nietzsche's works as the "political biography of his soul," Leslie Thiele presents an original and accessible essay on the great thinker's attempt to lead a heroic life as a philosopher, artist, saint, educator, and solitary. He takes as his point of departure Nietzsche's conception of the soul as a multiplicity of conflicting drives and personae, and focuses on the task Nietzsche allotted himself "to make a cosmos out of his chaotic inheritance." This struggle to "become what you are" by way of a spiritual politics is demonstrated to be Nietzsche's foremost concern, which fused his philosophy with his life. The book offers a conversation with Nietzsche rather than a consideration of the secondary literature, yet it takes to task many prevalent approaches to his work, and contests especially the way we often restrict our encounter with him to conceptual analysis. All deconstructionist attempts to portray him as solely concerned with the destruction of the subject and the dispersion of the self, rather than its unification, are called into question. Often portrayed as the champion of nihilism, Nietzsche here emerges as a thinker who saw his primary task as the overcoming of nihilism through the heroic struggle of individuation.

Zarathustra was Nietzsche's masterpiece, the first comprehensive statement of his mature philosophy, and the introduction of his influential and well-known (and misunderstood) ideas including the "overman" or "superman" and the "will to power." It is also the source of Nietzsche's famous (and much misconstrued) statement that "God is dead." Though this is essentially a work of philosophy, it is also a masterpiece of literature, a cross between prose and poetry. A considerable part and parcel of Nietzsche's genius is his ability to make his language dance, and this is what becomes extraordinarily difficult to translate. It has been almost 40 years since Hollingdale's version for Penguin and almost 50 since Kaufmann's. However, anyone who appreciates the German original knows that these translations are merely adequate. While earlier translators have smoothed out the rough edges, cut corners and sometimes omitted troublesome passages outright, this one honors and respects the original as no other. Kaufmann and others are guilty of the deplorable tendency to "improve" on the original. Much is lost by this means, to say nothing of the interior rhythms, the grace notes, the not always graceful but omnipresent and striking puns and wordplays. And in not a few instances the current translation improves on Kaufmann's use of English or otherwise clarifies what Nietzsche is really saying

Paying particular attention to the issue of how to read Nietzsche, this book presents a series of accessible essays on the work of this influential German philosopher. The contributions include many of the leading Nietzsche scholars in the United States today - Frithjof Bergmann, Arthur Danto, Bernd Magnus, Christopher Middleton, Lars Gustaffson, Alexander Nehamas, Richard Schacht, Gary Shapiro, and Ivan Soll - and the majority of the essays have never been published. Works discussed include On the Genealogy of Morals, Beyond Good and Evil, Thus Spoke Zarathustra, Twilight of the Idols, and The Will to Power.