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A book about opium usage and the effects of addiction on the authors life.
The Suspiria is a collection of prose poems, or what De Quincey called “impassioned prose,” erratically written and published starting in 1854. Each Suspiria is a short essay written in reflection of the opium dreams De Quincey would experience over the course of his lifetime addiction, and they are considered by some critics to be some of the finest examples of prose poetry in all of English literature. De Quincey originally planned them as a sequel of sorts to his Confessions of an English Opium-Eater, but the first set was published separately in Blackwood’s Magazine in the spring and summer of that 1854. De Quincey then published a revised version of those first Suspiria, along with several new ones, in his collected works. During his life he kept a master list of titles of the Suspiria he planned on writing, and completed several more before his death; those that survived time and fire were published posthumously in 1891.
An exploration of consciousness in all matter--from quantum to cosmos • Outlines theories of consciousness in ancient and modern philosophy from before Plato to Alfred North Whitehead • Reveals the importance of understanding mind-in-matter for our relationships with the environment, with other people, even with ourselves Are rocks conscious? Do animals or plants have souls? Can trees feel pleasure or pain? Where in the great unfolding of life did consciousness first appear? How we answer such questions can dramatically affect the way we live our lives, how we treat the world of nature, and even how we relate to our own bodies. In this new edition of the award-winning Radical Nature, Christian de Quincey explores the “hard problem” of philosophy--how mind and matter are related--and proposes a radical and surprising answer: that matter itself tingles with consciousness at the deepest level. It’s there in the cells of every living creature, even in molecules and atoms. Tracing the lineage of this idea through Western philosophy and science, he shows that it has a very noble history--from before Plato to Alfred North Whitehead. He reveals that the way to God is through nature and that understanding how body and soul fit together has surprising consequences for our relationships with our environment, with other people, and even with ourselves.
'People begin to see that something more goes to the composition of a fine murder than two blockheads to kill and be killed - a knife - a purse - and a dark lane...' In this provocative and blackly funny essay, Thomas de Quincey considers murder in a purely aesthetic light and explains how practically every philosopher over the past two hundred years has been murdered - 'insomuch, that if a man calls himself a philosopher, and never had his life attempted, rest assured there is nothing in him'. Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions. Thomas de Quincey (1785-1859). Thomas de Quincey's Confessions and an English Opium-Eater and Other Writings is available in Penguin Classics.
As this book's title suggests, its main argument is that Thomas De Quincey's literary output, which is both a symptom and an effect of his addictions to opium and writing, plays an important and mostly unacknowledged role in the development of modern and modernist forms of subjectivity. At the same time, the book shows that intoxication, whether in the strict medical sense or in its less technical meaning ("strong excitement," "trance," "ecstasy"), is central to the ways in which modernity, and literary modernity in particular, functions and defines itself. In both its theoretical and practical implications, intoxication symbolizes and often comes to constitute the condition of the alienated artist in the age of the market. The book also offers new readings of the Confessions and some of De Quincey's posthumous writings, as well as an extended analysis of his relatively neglected diary. The discussion of De Quincey's work also elicits new insights into his relationship with William and Dorothy Wordsworth, as well as his imaginary investment in Coleridge.
A radical reassessment of what we mean by "consciousness" and how we experience it in relation to others • Shows the importance of integrating different ways of knowing--such as feeling and intuition, reason and the senses--in our approach to life • Discusses the technique of Bohmian Dialogue where you can learn not only to "feel your thinking," but also to experience true communion with others In Radical Knowing Christian de Quincey makes a provocative claim: We are not who we think we are. Instead, we are what we feel. Giving disciplined attention to feelings reveals the most fundamental fact of life and reality: We are our relationships. Most of us think we are individuals first and foremost who then come together to form relationships. De Quincey turns this "obvious fact" on its head and shows that relationship comes first, and that our individual sense of self--our "private" consciousness--actually arises from shared consciousness. This shared, collective consciousness is at the heart of indigenous ways of life and their worldviews. De Quincey explains that participating in shared consciousness literally builds the fabric of reality, and that understanding this process is key to unlocking our potential for higher consciousness and spiritual evolution. He presents the technique of Bohmian Dialogue, developed by groundbreaking quantum physicist David Bohm, as one method for experiencing this powerful process. He also explores the mystery of synchronicity, offering a new understanding of the relationship between matter and mind and the underlying nature of reality.
Beginning with a discussion of Levana, the ancient Roman goddess of childbirth, De Quincey imagines three companions for her: Mater Lachrymarum, Our Lady of Tears; Mater Suspiriorum, Our Lady of Sighs; and Mater Tenebrarum, Our Lady of Darkness.
De Quincey's Gothic Masquerade is what has long been needed, a study of Thomas De Quincey's Gothic and Gothic-related texts by a Germanist working on Gothic and specializing in Anglo-German literary relations. Variously identified as Gothic Hero, Gothic Parasite, and author of a Gothick sport, De Quincey is the dark horse of Gothicism, for while his work has, increasingly, been associated with Gothic, not one of the recent companions to Gothic so much as mentions his name. Definitions of what is meant by 'Gothic' have changed, of course, and are still evolving, claiming more territory all the time, but Gothic specialists also have their blind spots, of whom De Quincey is one. One reason for this state of affairs will be the fact that in his work the Gothic is interwoven with the German, to which modern English studies all too often turn a blind eye. In this timely study of his work in relation to Gothic convention the author addresses the question of De Quincey's reputed knowledge of German 'Gothic' Romantic literature and the related question of supposed German influences on his Gothic work, and shows that his fiction is not less but more original than has been thought. The texts examined are those on which, for better or worse, his reputation as a writer both of autobiography and of fiction depends. Focusing on the Gothic takes one to the heart of his literary masquerade, and more especially to the heart of his masked autobiographical enterprise. Gothic, because of its formulaic nature, represents a place where he belongs, a place where his sense of guilt can be seen as part of a wider pattern, thus countering his pariah self-image and enabling him to make some sort of sense of the Gothic ruin of his life. Addressed to all who are interested in De Quincey's work and its place in literary history, and to the many readers in the English and German-speaking worlds who share De Quincey's and the author's enthusiasm for Gothic, this book adds considerably to the scope of De Quincey studies, which it enables to move on from some of the main unanswered questions of the past.
From bestselling thriller author David Morrell comes a brooding Thomas De Quincey short story about the coldest of deaths and their heartbreaking aftermath. Thomas De Quincey -- the central character of Morrell's acclaimed Victorian mysteries, Murder as a Fine Art and Inspector of the Dead -- was one of the most notorious and brilliant literary personalities of the 1800s. His infamous Confessions of an English Opium-Eater made history as the first book about drug dependency. He invented the word "subconscious" and anticipated Freud's psychoanalytic theories by more than a half century. His blood-soaked essays and stories influenced Edgar Allan Poe, who in turn inspired Sir Arthur Conan Doyle to create Sherlock Holmes. But at the core of his literary success lies a terrible tragedy. In this special-edition novella, based on real-life events, Morrell shares De Quincey's story of a horrific snowstorm in which a mother and father died and their six children were trapped in the mountains of England's Lake District. Even more gripping is what happened after. This is the true tale of how Thomas De Quincey became the Opium-Eater, brought to life by award-winning storyteller David Morrell. An afterword contains numerous photographs of the dramatic locations in the story.
The ongoing critical fascination with Thomas De Quincey and the burgeoning recognition of the centrality of his writings to the Romantic age and beyond necessitates a critical examination of De Quincey. In this spirit, ten of the top De Quincey scholars in the world have come together in this volume to engage directly with the immense amount of new information to be published on De Quincey in the past two decades. The book features wide-ranging and incisive assessments of De Quincey as essayist, addict, economist, subversive, biographer, autobiographer, aesthete, innovator, hedonist, and much else.