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By Cioran, E. M

During this quantity, which reaffirms the uncompromising brilliance of his brain, Cioran strips the human all the way down to its most elementary parts, beginning and loss of life, suggesting that catastrophe lies now not within the prospect of demise yet within the truth of beginning, that laughable coincidence. within the lucid, aphoristic type that characterizes his paintings, Cioran writes of time and loss of life, God and faith, suicide and ache, and the Read more...

summary: during this quantity, which reaffirms the uncompromising brilliance of his brain, Cioran strips the human all the way down to its most elementary elements, delivery and loss of life, suggesting that catastrophe lies no longer within the prospect of loss of life yet within the truth of beginning, that laughable twist of fate. within the lucid, aphoristic sort that characterizes his paintings, Cioran writes of time and dying, God and faith, suicide and pain, and the temptation to silence. In all his writing, Cioran cuts to the center of the human event

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Philosophy in the Morgue. “My nephew was obviously a failure. ” “You’re right,” she said, after a few seconds’ thought. This unexpected acquiescence on the part of such a woman moved me almost as much as the death of my friend. Misfits … It seems to me that their adventure, more than any other, sheds a light on the future, that they alone allow us to glimpse and to decipher it, and that if we set their exploits aside we utterly disqualify ourselves from describing the days to come. ” “So what! He exists.

There was a time when time did not yet exist…. The rejection of birth is nothing but the nostalgia for this time before time. I think of so many friends who are no more, and I pity them. Yet they are not so much to be pitied, for they have solved every problem, beginning with the problem of death. In the fact of being born there is such an absence of necessity that when you think about it a little more than usual, you are left—ignorant how to react—with a foolish grin. Two kinds of mind: daylight and nocturnal.

We are so overtaxed by it that we no longer have the power to add a single comma, however indispensable. What determines the degree to which a work is done is not a requirement of art or of truth, it is exhaustion and, even more, disgust. Whereas any sentence one has to write requires a pretense of invention, it takes little enough attention to enter into a text, even a difficult one. To scribble a postcard comes closer to creative activity than to read The Phenomenology of Mind. ” I know this, but what good does it do me to know?

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