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 this collection of aphorisms and short essays, E.M. Cioran sets about the task of peeling off the layers of false realities with which society masks the truth. For him, real hope lies in this task, and thus, while he perceives the world darkly, he refuses to give in to despair. He hits upon this ultimate truth by developing his notion of human history and events as "a procession of delusions," striking out at the so-called "Fallacies of Hope." By examining the relationship between truth and action and between absolutes, unknowables, and frauds, Cioran comes out, for once, in favor of "being."

'Not to be born is undoubtedly the best plan of all. Unfortunately it is within no one's reach.' In The Trouble With Being Born, E. M. Cioran grapples with the major questions of human existence: birth, death, God, the passing of time, how to relate to others and how to make ourselves get out of bed in the morning. In a series of interlinking aphorisms which are at once pessimistic, poetic and extremely funny, Cioran finds a kind of joy in his own despair, revelling in the absurdity and futility of our existence, and our inability to live in the world. Translated by Pulitzer Prize-winning poet and critic Richard Howard, The Trouble With Being Born is a provocative, illuminating testament to a singular mind.

A Short History of Decay (1949) is E. M. Cioran's nihilistic and witty collection of aphoristic essays concerning the nature of civilization in mid 20th-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 this volume, which reaffirms the uncompromising brilliance of his mind, Cioran strips the human condition down to its most basic components, birth and death, suggesting that disaster lies not in the prospect of death but in the fact of birth, "that laughable accident." In the lucid, aphoristic style that characterizes his work, Cioran writes of time and death, God and religion, suicide and suffering, and the temptation to silence. Through sharp observation and patient contemplation, Cioran cuts to the heart of the human experience.

"A love of Cioran creates an urge to press his writing into someone's hand, and is followed by an equal urge to pull it away as poison."--"The New Yorker"
"In the company of Nietzsche and Kierkegaard."--"Publishers Weekly"
"No modern writer twists the knife with Cioran's dexterity. . . . His writing . . . is informed with the bitterness of genuine compassion."--"Boston Phoenix
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Born of a terrible insomnia--"a dizzying lucidity which would turn even paradise into hell"--this book presents the youthful Cioran, a self-described "Nietzsche still complete with his Zarathustra, his poses, his mystical clown's tricks, a whole circus of the heights."
"On the Heights of Despair" shows Cioran's first grappling with themes he would return to in his mature works: despair and decay, absurdity and alienation, futility and the irrationality of existence. It also presents Cioran as a connoisseur of apocalypse, a theoretician of despair, for whom writing and philosophy both share the "lyrical virtues" that alone lead to a metaphysical revelation.
"No modern writer twists the knife with Cioran's dexterity. . . . His writing . . . is informed with the bitterness of genuine compassion."--Bill Marx, "Boston Phoenix
""The dark, existential despair of Romanian philosopher Cioran's short meditations is paradoxically bracing and life-affirming. . . . Puts him in the company of Nietzsche and Kierkegaard."--"Publishers Weekly, " starred review
"This is self-pity as epigram, the sort of dyspeptic pronouncement that gets most people kicked out of bed but that has kept Mr. Cioran going for the rest of his life."--Judith Shulevitz, "New York Times Book ""Review"

By the mid-1930s, Emil Cioran was already known as a leader of a new generation of politically committed Romanian intellectuals. Researching another, more radical book, Cioran was spending hours in a library poring over the lives of saints. As a modern hagiographer, Cioran dreamt himself the chronicler of these saints' falls between heaven and earth, the intimate knower of the ardors in their hearts, the historian of God's insomniacs. Inspired by Nietzsche's Beyond Good and Evil, Cioran searched for the origin of tears. He asked himself if saints could be the sources of tears' better light. Who can tell? he wrote in the first paragraph of this book, first published in Romania in 1937. To be sure, tears are their trace. Tears did not enter the world through the saints; but without them we would never have known that we cry because we long for a lost paradise. By following in their traces, wetting the soles of one's feet in their tears, Cioran hoped to understand how a human being can renounce being human. Written in Cioran's characteristic aphoristic style, this flamboyant, bold, and provocative book is one of his most important--and revelatory--works. Cioran focuses not on martyrs or heroes but on the mystics--primarily female--famous for their keening spirituality and intimate knowledge of God. Their Christianity was anti-theological, anti-institutional, and based solely on intuition and sentiment. Many, such as Catherine of Siena, Teresa of Avila, and Saint John of the Cross, have produced classic works of mystical literature; but Cioran celebrates many more minor and unusual figures as well. Following Nietzsche, he focuses explicitly on the political element hidden in saints' lives. In his hands, however, their charitable deeds are much less interesting than their thirst for pain and their equally powerful capacity to endure it. Behind their suffering and their uncanny ability to renounce everything through ascetic practices, Cioran detects a fanatical will to power. Like Nietzsche, Cioran is an important religious thinker. His book intertwines God and music with passion and tears. . . . [Tears and Saints] has a chillingly contemporary ring that makes this translation important here and now.--Booklist

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.