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E. M. Cioran confronts the place of today's world in the context of human history—focusing on such major issues of the twentieth century as human progress, fanaticism, and science—in this nihilistic and witty collection of aphoristic essays concerning the nature of civilization in mid-twentieth-century Europe. Touching upon Man's need to worship, the feebleness of God, the downfall of the Ancient Greeks and the melancholy baseness of all existence, Cioran's pieces are pessimistic in the extreme, but also display a beautiful certainty that renders them delicate, vivid, and memorable. Illuminating and brutally honest, A Short History of Decay dissects Man's decadence in a remarkable series of moving and beautiful pieces.
In the fact of being born there is such an absence of necessity thatwhen you think about it a little more than usual you are left . . . with afoolish...
View our feature on James Knapp’s State of Decay.Just because you're dead doesn't mean you're useless... A thrilling debut novel of a dystopian future populated by a new breed of zombie They call them revivors-technologically reanimated corpses-and away from the public eye they do humanity's dirtiest work. But FBI agent Nico Wachalowski has stumbled upon a conspiracy involving revivors being custom made to kill-and a startling truth about the existence of these undead slaves.
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.
"A brilliant and original exponent of a rare genre, the philosophical essay. Once read, Cioran cannot fail to provoke reaction. New York Times Book...
A vivid and richly illustrated graphic novel, Zombies offers an action-packed tour through an apocalyptic vision of America. Mankind is no longer at the top of the food chain. Zombies have taken their place, and nothing can stop them. Is this the end of humanity? Perhaps, but for some it is only the beginning. Six billion living corpses are all that remains of civilization. Among the few survivors is Sam Coleman, a man who owes his salvation to Smith & Wesson and a little luck. Fleeing Seattle at the onset of the zombie outbreak, he was forced to leave his daughter behind. Yet now that silence has fallen over the city, he believes that she may still be alive. And his conscience serves up a constant reminder that to be human in this grim world is to have hope—and to keep fighting.
Romanian-born E.M. Cioran moved to Paris at the age of 26, remaining there nearly six decades until his death in 1995. He was called "a sort of final philosopher of the Western world" and "the last worthy disciple of Nietzsche"; the bleak aphorisms of All Gall Is Divided make a strong case for either appellation. "With every idea born in us," he declares early on, "something in us rots." Throughout the book, he addresses the futile attempts of man to impose meaning on a meaningless existence--"That there should be a reality hidden by appearances is, after all, quite possible; that language might render such a thing would be an absurd hope"--and nurses an ongoing fascination with the possibilities death holds for release from life's madness. (When the Dead Kennedys sang, "I look forward to death / This world brings me down," they might as well have been taking notes from Cioran.) Grim stuff, but presented in brilliant, crystalline form--particularly in the translation by Richard Howard, which retains Cioran's cold, detached viewpoint.
“Only a monster can allow himself the luxury of seeing things as they are,” writes E. M. Cioran, the Romanian-born philosopher who has rightly been compared to Samuel Beckett. In History and Utopia, Cioran the monster writes of politics in its broadest sense, of history, and of the utopian dream. His views are, to say the least, provocative. In one essay he casts a scathing look at democracy, that “festival of mediocrity”; in another he turns his uncompromising gaze on Russia, its history, its evolution, and what he calls “the virtues of liberty.” In the dark shadow of Stalin and Hitler, he writes of tyrants and tyranny with rare lucidity and convincing logic. In “Odyssey of Rancor,” he examines the deep-rooted dream in all of us to “hate our neighbors,” to take immediate and irremediable revenge. And, in the final essay, he analyzes the notion of the “golden age,” the biblical Eden, the utopia of so many poets and thinkers.
E. H. Gombrich's Little History of the World, though written in 1935, has become one of the treasures of historical writing since its first publication in English in 2005. The Yale edition alone has now sold over half a million copies, and the book is available worldwide in almost thirty languages. Gombrich was of course the best-known art historian of his time, and his text suggests illustrations on every page. This illustrated edition of the Little History brings together the pellucid humanity of his narrative with the images that may well have been in his mind's eye as he wrote the book. The two hundred illustrations—most of them in full color—are not simple embellishments, though they are beautiful. They emerge from the text, enrich the author's intention, and deepen the pleasure of reading this remarkable work. For this edition the text is reset in a spacious format, flowing around illustrations that range from paintings to line drawings, emblems, motifs, and symbols. The book incorporates freshly drawn maps, a revised preface, and a new index. Blending high-grade design, fine paper, and classic binding, this is both a sumptuous gift book and an enhanced edition of a timeless account of human history.