Amazon.com Review
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.
From Publishers Weekly
Ambrose Bierce produced a small book of mordant paradoxes he called The Devil's Dictionary (1911). This is Cioran's existentialist equivalent. Often aridly clever, it can quickly elicit indigestion, but on occasion its bleak terseness strikes a chord or hints at an autobiography. Cioran (The Trouble with Being Born) was born in Romania, emigrated to France in the 1930s and died in Paris in 1995. "Inside every citizen nowadays," he writes, "lies a future alien." An outspoken non-believer, he opines, "For two thousand years, Jesus has revenged himself on us for not having died on a sofa." A passionate pessimist after decades of exile, occupation and war, he insists, "To hope is to contradict the future," and "Had Noah possessed the gift of foreseeing the future, there is not a doubt in the world he would have scuttled the ark." As laconic and intense as his aphorisms appear to be, it seems obvious that his heralded translator, in playing his own word games, has often stretched the irony, sometimes vitiating it. At their sardonic bestA"Shakespeare: the rose and the ax have a rendezvous"ACioran's lines have a staying power. This is especially so when he expresses his thirst for doubt and his despairing delight in the world's contradictions. Ideas, he believes, are undermined by exhaustive analysis. Pithy cynicism is the antidote he offers. (July)
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