Guilty is a searing personal record of spiritual and communal crisis, wherein the death of god announces the beginning of friendship. It takes the form of a diary, recording the earliest days of World War Two and the Nazi occupation of France, but this is no ordinary day book: it records the author s journey through a war-torn world without transcendence. Bataille s spiritual journey is also an intellectual one, a trip with Hegel, Kierkegaard, Blake, Baudelaire, and Nietzsche as his companions. And it is a school of the flesh wherein eroticism and mysticism are fused in a passionate search for pure immanence. Georges Bataille said of his work: I teach the art of turning horror into delight. This new translation of Guilty is the first to include the full text from Bataille s Oeuvres Completes. The text includes Bataille s notes and drafts, which permit the reader to trace the development of the book from diary to draft to published text, as well as annotations of Bataille s source materials. An extensive and incisive introductory essay by Stuart Kendall situates the work historically, biographically, and philosophically. Guilty is Bataille s most demanding, intricate, and multi-layered work, but it is also his most personal and moving one.

Originally published in 1943, "Inner Experience" is the single most significant work by one of the twentieth century s most influential writers. It outlines a mystical theology and experience of the sacred founded on the absence of god. Bataille calls "Inner Experience" a narrative of despair, but also describes it as a book wherein profundity and passion go tenderly hand in hand. Herein, he says, The mind moves in a strange world where anguish and ecstasy take shape.
Bataille s search for experience begins where religion, philosophy, science, and literature leave off, where doctrines, dogmas, methods, and the arts collapse. His method of meditation, outlined and documented here, commingles horror and delight. Laughter, intoxication, eroticism, poetry, and sacrifice are pursued not as ends in and of themselves but as means of access to a sovereign realm of inner experience.
This new translation is the first to include "Method of Meditation" and "Post-scriptum 1953," the supplementary texts Bataille added to create the first volume of his "Summa Atheologica." This edition also offers the full notes and annotations from the French edition of Bataille s "Oeuvres Completes," along with an incisive introductory essay by Stuart Kendall that situates the work historically, biographically, and philosophically."

Bataille’s first novel, published under the pseudonym ‘Lord Auch’, is still his most notorious work. In this explicit pornographic fantasy, the young male narrator and his lovers Simone and Marcelle embark on a sexual quest involving sadism, torture, orgies, madness and defilement, culminating in a final act of transgression. Shocking and sacreligious, Story of the Eye is the fullest expression of Bataille’s obsession with the closeness of sex, violence and death. Yet it is also hallucinogenic in its power, and is one of the erotic classics of the twentieth century.

Including a number of short essays by Bataille and Leiris on aspects of the other's work as well as excerpts on Bataille from Leiris' diaries, this collection of correspondence throws new light on two of Surrealism's most radical dissidents.   In the autumn of 1924, just before André Breton published the Manifeste du surréalisme, two young men met in Paris for the first time.  Georges Bataille, 27, starting work at the Bibliothèque Nationale; Michel Leiris, 23, beginning his studies in ethnology.  Within a few months, they were both members of the Surrealist group, although their adherence to Surrealism (unlike their affinities with it) would not last long: in 1930 they were among the signatories of "Un cadavre," the famous tract against Breton, the "Machiavelli of Montmartre," as Leiris put it.  But their friendship would endure for more than 30 years, and their correspondence, assembled here for the first time in English, would continue until the death of Bataille in 1962.

The three volumes of The Accursed Share address what Georges Bataille sees as the paradox of utility: namely, if being useful means serving a further end, then the ultimate end of utility can only be uselessness. The first volume of The Accursed Share, the only one published before Bataille's death, treated this paradox in economic terms, showing that "it is not necessity but its contrary, luxury, that presents living matter and mankind with their fundamental problems." This Zone edition includes in a single volume a reconstruction, based on the versions published in Bataille's posthumous collected works, of his intended continuation of The Accursed Share.In the second and third volumes, The History of Eroticism and Sovereignty, Bataille explores the same paradox of utility, respectively from an anthropological and an ethical perspective. He first analyzes the fears and fascination, the prohibitions and the transgressions attached to the realm of eroticism as so many expressions of the "uselessness" of erotic life. It is just this expenditure of excess energy that demarcates the realm of human autonomy, of independence relative to.useful" ends. The study of eroticism therefore leads naturally to the examination of human sovereignty, in which Bataille defines the sovereign individual as one who consumes and does not labor, creating a life beyond the realm of utility.Georges Bataille, a philosopher and novelist sui generis, died in 1962.

Hailed by Martin Heidegger as "one of France's best minds," Georges Bataille has become increasingly recognized and respected in the realm of academic and popular intellectual thought. Although Bataille died in 1962, interest in his life and writings have never been as strong as they are today--Barthes, Foucault, Derrida, and Kristeva have all acknowledged their debt to him. In his book, On Nietzsche, as translated by Bruce Boone, Bataille comes as close as he would ever come to formulating his own unique system of philosophy. One could say that reading Nietzsche was something of a revelation to Bataille, and profoundly affected his life. In 1915, in a crisis of guilt after leaving his blind father in the hands of the Germans, Bataille converted to Catholicism. It was Nietzsche's work that lead him to abandon traditional religion for an idiosyncratic form of godless mysticism. In this volume, Bataille becomes, and goes beyond, Nietzsche, assuming Nietzsche's thought where he left off--with God's death. At the heart of this work is Bataille's exploration of how one can have a spiritual life outside religion. On Nietzsche is essentially a journal that brilliantly mixes observations with ruminations in fragments, aphorisms, poems, myths, quotations, and images against the background of World War II and the German occupation. Bataille has a unique way of moving breezily from abstraction to confession, and from theology to eroticism. He skillfully weaves together his own internal experience of anguish with the war and destruction raging outside with arguments against fascist interpretations of Nietzsche and praise for the philosopher as a prophet foretelling "the crude German fate." With an introduction, "Furiously Nietzschean," by Sylvere Lotringer, an Appendix in which Bataille defends himself against Sartre, and an Index, this volume reconfirms Michel Foucault's assertion that Bataille, "broke with traditional narrative to tell us what has never been told before."

In these three works of erotic prose Georges Bataille fuses sex and spirituality in a highly personal and philosophical vision of the self. My Mother is a frank and intense depiction of a young man's sexual initiation and corruption by his mother, where the profane becomes sacred, and intense experience is shown as the only way to transcend the boundaries of society and morality. Madame Edwarda is the story of a prostitute who calls herself God, and The Dead Man, published in 1964 after Bataille's death, is a startling short tale of cruelty and desire. This volume also contains Bataille's own introductions to his texts as well as essays by Yukio Mishima and Ken Hollings.

A deft reconstruction of what Georges Bataille envisioned as a continuation of his work La Somme Athéologique, this volume brings together the writings of one of the foremost French thinkers of the twentieth century on the central topic of his oeuvre. Gathering Bataille’s most intimate writings, these essays, aphorisms, notes, and lectures on nonknowledge, sovereignty, and sacrifice clarify and extend Bataille’s radical theology, his philosophy of history, and his ecstatic method of meditation. Following Bataille’s lead, as laid out in his notebooks, editor Stuart Kendall assembles the fragments that Bataille anticipated collecting for his summa. Kendall’s introduction offers a clear picture of the author’s overall project, its historical and biographical context, and the place of these works within it. The "system" that emerges from these articles, notes, and lectures is "atheology," understood as a study of the effects of nonknowledge. At the other side of realism, Bataille’s writing in La Somme pushes language to its silent end. And yet, writing toward the ruin of language, in search of words that slip from their meanings, Bataille uses language—and the discourses of theology, philosophy, and literature—against itself to return us to ourselves, endlessly. The system against systems is in fact systematic, using systems and depending on discourses to achieve its own ends—the end of systematic thought.A medievalist librarian by training, Georges Bataille (1897–1962) was active in the French intellectual scene from the 1920s through the 1950s. He founded the journal Critique and was a member of the Acéphale group and the Collège de Sociologie. Among his works available in English are Visions of Excess (Minnesota, 1985), Tears of Eros (1989), and Erotism (1990).

This first book in a three-volume collection of Georges Bataille's essays introduces English readers to his philosophical and critical writings. In the aftermath of the Second World War, French thinker and writer Georges Bataille forged a singular path through the moral and political impasses of his age. In 1946, animated by "a need to live events in an increasingly conscious way," and to reject any compartmentalization of intellectual life, Bataille founded the journal Critique. Adopting the format of the review essay, he surveyed the post-war cultural landscape while advancing his reflections on excess, non-knowledge, and the general economy. Focusing on literature as a mode of sovereign uselessness, he tackled prominent and divisive figures such as Henry Miller and Albert Camus. In keeping with Critique's mission to explore the totality of human knowledge, Bataille's articles did not just focus on the literary but featured important reflections on the science of sexuality, the Chinese Revolution, and historical accounts of drunkenness, among other matters. Throughout, he was attuned to how humanity would deal with the excessive forces of production and destruction it had unleashed, his aim being a way of thinking and living that would inhabit that excess. This is the first of three volumes collecting Bataille's post-war essays. Beginning with an article on Nietzsche and fascism written shortly after the liberation of Paris and running to the end of 1948, these texts make available for the first time in English the systematic diversity of Bataille's post-war thought.

In 1928, Georges Bataille published this first novel under a pseudonym, a legendary shocker that uncovers the dark side of the erotic by means of forbidden obsessive fantasies of excess and sexual extremes. A classic of pornographic literature, Story of the Eye finds the parallels in Sade and Nietzsche and in the investigations of contemporary psychology; it also forecasts Bataille's own theories of ecstasy, death and transgression which he developed in later work.

Since the publication of Visions of Excess in 1985, there has been an explosion of interest in the work of Georges Bataille. The French surrealist continues to be important for his groundbreaking focus on the visceral, the erotic, and the relation of society to the primeval. This collection of prewar writings remains the volume in which Batailles's positions are most clearly, forcefully, and obsessively put forward.This book challenges the notion of a "closed economy" predicated on utility, production, and rational consumption, and develops an alternative theory that takes into account the human tendency to lose, destroy, and waste. This collection is indispensible for an understanding of the future as well as the past of current critical theory.Georges Bataille (1897-1962), a librarian by profession, was founder of the French review Critique. He is the author of several books, including Story of the Eye, The Accused Share, Erotism, and The Absence of Myth.

A radically interdisciplinary inquiry into the origins of human consciousness, community, and potential. The Cradle of Humanity: Prehistoric Art and Culture collects essays and lectures by Georges Bataille spanning 30 years of research in anthropology, comparative religion, aesthetics, and philosophy. These were neither idle nor idyllic years; the discovery of Lascaux in 1940 coincides with the bloodiest war in history-with new machines of death, Auschwitz, and Hiroshima. Bataille's reflections on the possible origins of humanity coincide with the intensified threat of its possible extinction. For Bataille, prehistory is universal history; it is the history of a human community prior to its fall into separation, into nations and races. The art of prehistory offers the earliest traces of nascent yet fully human consciousness-of consciousness not yet fully separated from natural flora and fauna, or from the energetic forces of the universe. A play of identities, the art of prehistory is the art of a consciousness struggling against itself, of a human spirit struggling against brute animal physicality. Prehistory is the cradle of humanity, the birth of tragedy. Bataille reaches beyond disciplinary specializations to imagine a moment when thought was universal. Bataille's work provides a model for interdisciplinary inquiry in our own day, a universal imagination and thought for our own potential community. The Cradle of Humanity: Prehistoric Art and Culture speaks to philosophers and historians of thought, to anthropologists interested in the history of their discipline and in new methodologies, to theologians and religious comparatists interested in the origins and nature of man's encounter with the sacred, and to art historians and aestheticians grappling with the place of prehistory in the canons of art.

A philosopher, essayist, novelist, pornographer and fervent Catholic who came to regard the brothels of Paris as his true 'churches', Georges Bataille ranks among the boldest and most disturbing of twentieth-century thinkers. In this influential study he links the underlying sexual basis of religion to death, offering a dazzling array of insights into incest, prostitution, marriage, murder, sadism, sacrifice and violence, as well as including comments on Freud, Sade and Saint Theresa. Everywhere, Eroticism argues, sex is surrounded by taboos, which we must continually transgress in order to overcome the sense of isolation that faces us all.

Theory of Religion brings to philosophy what Bataille's earlier book, The Accursed Share, brought to anthropology and history; namely, an analysis based on notions of excess and expenditure. Bataille brilliantly defines religion as so many different attempts to respond to the universe's relentless generosity. Framed within his original theory of generalized economics and based on his masterly reading of archaic religious activity, Theory of Religion constitutes, along with The Accursed Share, the most important articulation of Bataille's work.Georges Bataille (1897-1962), founder of the French review Critique, wrote fiction and essays on a wide range of topics. His books in English translation include Story of the Eye, Blue of Noon, Literature and Evil, Manet and Erotism.Robert Hurley is the translator of The History of Sexuality by Michel Foucault and cotranslator of Anti Oedipus by Gilles Deleuze and Felix Guattari. Distributed for Zone Books.

'Literature is not innocent,' stated Georges Bataille in this extraordinary 1957 collection of essays, arguing that only by acknowledging its complicity with the knowledge of evil can literature communicate fully and intensely. These literary profiles of eight authors and their work, including Emily Bronte's Wuthering Heights, Baudelaire's Les Fleurs du Mal and the writings of Sade, Kafka and Sartre, explore subjects such as violence, eroticism, childhood, myth and transgression, in a work of rich allusion and powerful argument.

Set against the backdrop of Europe's slide into Fascism, Blue of Noon is a blackly compelling account of depravity and violence. As its narrator lurches despairingly from city to city in a surreal sexual and mental nightmare of squalor, sadism and drunken encounters, his internal collapse mirrors the fighting and marching on the streets outside. Exploring the dark forces beneath the surface of civilization, this is a novel torn between identifying with history's victims and being seduced by the monstrous glamour of its terrible victors, and is one of the twentieth century's great nihilist works.

For Bataille, the absence of myth had itself become the myth of the modern age. In a world that had lost the secret of its cohesion, Bataille saw surrealism as both a symptom and a beginning of an attempt to address this loss. His writings on this theme are the result of a profound reflection in the wake of World War Two. The Absence of Myth is the most incisive study yet made of surrealism, insisting on its importance as a cultural and social phenomenon with far-reaching consequences. Clarifying Bataille's links with the surrealist movement, and throwing revealing light on his complex and greatly misunderstood relationship with Andre Breton, The Absence of Myth shows Bataille to be a much more radical figure than his postmodernist devotees would have us believe: a man who continually tried to extend Marxist social theory; a pessimistic thinker, but one as far removed from nihilism as can be.