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In the intoxication of hashish there is nothing like this. We shall not go outside the class of natural dream. The drunkenness, throughout its duration, it is true, will be nothing but an immense dream, thanks to the intensity of its colours and the rapidity of its conceptions. But it will always keep the idiosyncrasy of the individual. The man has desired to dream; the dream will govern the man. But this dream will be truly the son of its father. The idle man has taxed his ingenuity to introduce artificially the supernatural into his life and into his thought; but, after all, and despite the accidental energy of his experiences, he is nothing but the same man magnified, the same number raised to a very high power.
THE HASHISH EATER (1920), an extraordinary prose-poem of malignant cosmic decadence and psychedelic evil, remains the signature work of its creator, the prolific fantasy author Clark Ashton Smith. Figuring prominently in the ranks of classic drug literature, THE HASHISH EATER clearly shows the influence on Smith of ninteenth century symbolists and visionary decadents such as Huysmans, Baudelaire, and William Beckford, allied to an avant-garde evocation of galactic horror. This special ebook edition of THE HASHISH EATER also includes the author's own summary of the work, plus a rare bonus chapter, Smith's hallucinatory fragment IN A HASHISH DREAM.
The Club des Hashischins ("Club of the Hashish-Eaters”), was a Parisian literary group dedicated to the exploration of drug-induced altered states of consciousness, principally through the use of hashish, a concentrated form of cannabis resin. Notable members of the club, which was active from 1844 to 1849, included Victor Hugo, Alexandre Dumas, Charles Baudelaire, Gerard de Nerval, Honoré de Balzac, and Théophile Gautier, all dedicated to experimenting with drugs and recording drug-induced visions. Whilst Baudelaire notably produced his treatise "The Poem Of Hashish” based on his experiences at the club, the most notable record of the group's activities and experiences under the influence of hashish remains Gautier's "Le Club des Hachichin”, first published in the Revue des Deux Mondes in February 1846. This text also includes a section on the original hashishin, the assassins who served the Old Man of the Mountain, a figure later identified by William S. Burroughs as Hassan i Sabbah. Transmutation and insanity loom over Gautier as he explores a hypnagogic inner world of monstrous distortions and shadows, on a trip into the revelries of Walpurgisnacht. The result is an enduring masterpiece of drug literature.
The Psychology of Hashish is an autobiographical essay of Aleister Crowley's experimentation with cannabis. Heavy use of hashish during Thelema rituals comprise the important part of Crowley's philosophy. In this essay, Crowley explains the importance of drug use during the rituals, calling it an aid to mysticism.
"I write hungry sentences," Natalie Diaz once explained in an interview, "because they want more and more lyricism and imagery to satisfy them." This debut collection is a fast-paced tour of Mojave life and family narrative: A sister fights for or against a brother on meth, and everyone from Antigone, Houdini, Huitzilopochtli, and Jesus is invoked and invited to hash it out. These darkly humorous poems illuminate far corners of the heart, revealing teeth, tails, and more than a few dreams. I watched a lion eat a man like a piece of fruit, peel tendons from fascia like pith from rind, then lick the sweet meat from its hard core of bones. The man had earned this feast and his own deliciousness by ringing a stick against the lion's cage, calling out Here, Kitty Kitty, Meow! With one swipe of a paw much like a catcher's mitt with fangs, the lion pulled the man into the cage, rattling his skeleton against the metal bars. The lion didn't want to do it— He didn't want to eat the man like a piece of fruit and he told the crowd this: I only wanted some goddamn sleep . . . Natalie Diaz was born and raised on the Fort Mojave Indian Reservation in Needles, California. After playing professional basketball for four years in Europe and Asia, Diaz returned to the states to complete her MFA at Old Dominion University. She lives in Surprise, Arizona, and is working to preserve the Mojave language.
Charles Baudelaire's place among the great poets of the Western world is undisputed, and his influence on the development of poetry since his lifetime has been enormous. In this Companion, essays by outstanding scholars illuminate Baudelaire's writing both for the lay reader and for specialists. In addition to a survey of his life and a study of his social context, the volume includes essays on his verse and prose, analyzing the extraordinary power and effectiveness of his language and style, his exploration of intoxicants like wine and opium, and his art and literary criticism. The volume also discusses the difficulties, successes and failures of translating his poetry and his continuing power to move his readers. Featuring a guide to further reading and a chronology, this Companion provides students and scholars of Baudelaire and of nineteenth-century French and European literature with a comprehensive and stimulating overview of this extraordinary poet.
In the 1840s Charles Baudelaire was a regular member of the infamous Club des Hashischins ("Club of the Hashish-Eaters"), a Parisian literary group dedicated to the exploration of altered states of consciousness, principally through the use of hashish (a concentrated form of cannabis resin). Other notable members of this group included Victor Hugo, Alexandre Dumas, Gerard de Nerval, Honore de Balzac, and Theophile Gautier, all dedicated to experimenting with drugs and drug-induced states. As a denizen of the Hashishin Club, Charles Baudelaire was well-placed to turn his drug experiences, and those of others, into literature. Inspired by Thomas de Quincey's 1821 Confessions Of An Opium-Eater (which he would also translate into French), he turned his writing to drug intoxication around 1850, eventually producing a collection of drug-related writings titled Artificial Paradise, published in 1858. As well as a modified version of an earlier essay, now titled "On Wine And Hashish", Artificial Paradise contained this "The Poem Of Hashish", a lengthy dissertation on the effects of prolonged hashish use.Let it be well understood then, by worldly and ignorant folk, curious of acquaintance with exceptional joys, that they will find in hashish nothing miraculous, absolutely nothing but the natural in a superabundant degree. The brain and the organism upon which hashish operates will only give their ordinary and individual phenomena, magnified, it is true, both in quantity and quality, but always faithful to their origin. Man cannot escape the fatality of his moral and physical temperament. Hashish will be, indeed, for the impressions and familiar thoughts of the man, a mirror which magnifies, yet no more than a mirror. Here is the drug before your eyes: a little green sweetmeat, about as big as a nut, with a strange smell; so strange that it arouses a certain revulsion, and inclinations to nausea—as, indeed, any fine and even agreeable scent, exalted to its maximum strength and (so to say) density, would do. There! there is happiness; heaven in a teaspoon; happiness, with all its intoxication, all its folly, all its childishness. You can swallow it without fear; it is not fatal; it will in nowise injure your physical organs. Perhaps (later on) too frequent an employment of the sorcery will diminish the strength of your will; perhaps you will be less a man than you are today; but retribution is so far off, and the nature of the eventual disaster so difficult to define! What is it that you risk? A little nervous fatigue to-morrow—no more. Do you not every day risk greater punishments for less reward?
“I’m drenched in cream, marinated in wine, basted in cognac, and thoroughly buttered by the end of The Alice B. Toklas Cook Book.” —Eula Biss, New York Times bestselling author of Having and Being Had A beautiful new edition of the classic culinary memoir by Alice B. Toklas, Gertrude Stein’s romantic partner, with a new introduction by beloved culinary voice Ruth Reichl. Restaurant kitchens have long been dominated by men, but, as of late, there has been an explosion of interest in the many women chefs who are revolutionizing the culinary game. And, alongside that interest, an accompanying appetite for smart, well-crafted culinary memoirs by female trailblazers in food. Nearly 70 years earlier, there was Alice. When Alice B. Toklas was asked to write a memoir, she initially refused. Instead, she wrote The Alice B. Toklas Cook Book, a sharply written, deliciously rich cookbook memorializing meals and recipes shared by Hemingway, Fitzgerald, Wilder, Matisse, and Picasso—and of course by Alice and Gertrude themselves. While The Autobiography of Alice B. Toklas—penned by Gertrude Stein—adds vivid detail to Alice’s life, this cookbook paints a richer, more joyous depiction: a celebration of a lifetime in pursuit of culinary delights. In this cookbook, Alice supplies recipes inspired by her travels, accompanied by amusing tales of her and Gertrude’s lives together. In “Murder in the Kitchen,” Alice describes the first carp she killed, after which she immediately lit up a cigarette and waited for the police to come and haul her away; in “Dishes for Artists,” she describes her hunt for the perfect recipe to fit Picasso’s peculiar diet; and, of course, in “Recipes from Friends,” she provides the recipe for “Haschich Fudge,” which she notes may often be accompanied by “ecstatic reveries and extensions of one’s personality on several simultaneous planes.” With a heartwarming introduction from Gourmet’s famed Editor-in-Chief Ruth Reichl, this much-loved, culinary classic is sure to resonate with food lovers and literary folk alike.
In the 1840s, Charles Baudelaire was a regular member of the infamous Club des Hashischins ("Club of the Hashish-Eaters”), a Parisian literary group dedicated to the exploration of altered states of consciousness, principally through the use of hashish (a concentrated form of cannabis resin). Other notable members of this group included Victor Hugo, Alexandre Dumas, Gerard de Nerval, Honoré de Balzac, and Théophile Gautier, all dedicated to experimenting with drugs and drug-induced states. As a denizen of the Hashishin Club, Charles Baudelaire was well-placed to turn his drug experiences, and those of others, into literature. Inspired by Thomas de Quincey's 1821 Confessions Of An Opium-Eater (which he would also translate into French), he turned his writing to drug intoxication around 1850, eventually producing a collection of drug-related writings titled Artificial Paradise, published in 1858. As well as a modified version of an earlier essay, now titled "On Wine And Hashish”, Artificial Paradise contained "The Poem Of Hashish”, a lengthy dissertation on the effects of prolonged hashish use. This special ebook edition of Baudelaire's writings on hashish and alcohol contains both "On Wine And Hashish”and "The Poem Of Hashish”, plus the bonus text "Get Drunk”, a prose-poetic exhortation to perpetual inebriation.