Lautréamont's Maldoror


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Lautréamont and Sade


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In this book, Blanchot forcefully distinguishes his critical project from the major intellectual currents of his day, surrealism and existentialism.




Man-Eating Typewriter


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'A major talent' Irvine Welsh 'Remarkable, beautiful, magic. Like Ulysses for those who can't cope with reading Ulysses' Paolo Hewitt 'We're all in the gutter but some of us are ogling the sparkles.' Set at the fag-end of the 1960s and framed as a novel within a novel published by a seedy London purveyor of pulp fiction, MAN-EATING TYPEWRITER is a homage to the avant-garde counterculture of the 20th century. Told in Polari, it is the story of an anarchist named Raymond Novak and his plan to commit a 'fantabulosa crime' in 276 days that will revolt the world. A surrealistic odyssey that stretches from occupied Paris to the cruise-liner SS Unmentionable to lawless Tangier before settling in Swinging London, the book casts Novak as an agitator and freedom fighter - but, as his memoirs become more and more threatening, his publishers find themselves far more involved in his violent personality cult than they ever intended. Constructed like a hallucinogenic cocktail of A Clockwork Orange, Pale Fire and Jean Genet's jailbird fantasies, MAN-EATING TYPEWRITER is an act of seductive sedition by a writer with unfathomable literary talent and boldness. Wild, transgressive, erotic and resolutely uncompromising, this marks the return of a writer who is out there on an island of his own making; a book that will be talked about, celebrated and puzzled over for decades.




The Impersonal Sublime


Book Description

The question of the sublime, which links the idea of aesthetic force with rhetorical impact and moral law, has been an important topic in discussion of eighteenth- and nineteenth-century art and the shift between them. This book argues that the sublime is equally important in understanding the shift from romanticism to modernism later in the century. The author studies the work of three French authors conventionally considered pivotal figures in the trajectory from romanticism to modernism: Hugo, father of romanticism; Baudelaire, precursor of symbolist modernism; and Lautreamont, hero of (post) modernism. She traces this literary-historical as Hugo's Quatre-vingt-treize and L'Homme qui rit, Baudelaire's Spleen de Paris and Petits poemes en prose, and Lautreamont's Chants de Maldoror and Poesies - all seen from a perspective of the aesthetics of the sublime. This perspective is developed through analyses of the treatises on the sublime by Longinus, Boileau, Burke, and Kant.




Tentacles Longer Than Night


Book Description

Our contemporary horror stories are written in a world where there seems little faith, lost hope, and no salvation. All that remains is the fragmentary and occasionally lyrical testimony of the human being struggling to confront its lack of reason for being in the vast cosmos. This is the terrain of the horror genre. Eugene Thacker explores this situation in Tentacles Longer Than Night. Extending the ideas presented in his book In The Dust of This Planet, Thacker considers the relationship between philosophy and the horror genre. But instead of taking fiction as the mere illustration of ideas, Thacker reads horror stories as if they themselves were works of philosophy, driven by a speculative urge to question human knowledge and the human-centric view of the world, ultimately leading to the limit of the human - thought undermining itself, in thought. Tentacles Longer Than Night is the third volume of the "horror of philosophy" trilogy, together with the first volume, In The Dust of This Planet, and the second volume, Starry Speculative Corpse.




Lautréamont Nomad


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The Tutu


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The Tutu is a genuine literary mystery: a lost masterpiece. Published in 1891, it never made it to bookshops. Its existence was only revealed in 1966, by a famous literary hoaxer. It is the ultimate decadent novel', but also outlandishly modern; it is excessive, repellent, infantile and riotously funny. Yet despite its absurdities, its eccentricities and its extravagance, in the end it somehow manages to appear compassionate, poetic, tender... even rational.'







The Songs of Maldoror


Book Description

Le Comte de Lautréamont was the nom de plume of Isidore Ducasse (1846-70), a Uruguayan-born French writer and poet whose only surviving major work of fiction, Les Chants de Maldoror, was discovered by the Surrealists, who hailed the work as a dark progenitor of their movement. It was in Les Chants de Maldoror that André Breton discovered the phrase that would come to represent the Surrealist doctrine of objective chance: "as beautiful as the random encounter between an umbrella and a sewing-machine upon a dissecting-table." Artists inspired by Lautréamont include Man Ray, René Magritte, Max Ernst, André Masson, Joan Miró, Yves Tanguy and, in particular, Salvador Dalí, who in 1933 produced an entire series of illustrations for Les Chants de Maldoror. Twenty of those illustrations are included, for the first time, in this new, definitive edition of Lautréamont's influential masterpiece. Vividly translated by R. J. Dent--the first new translation for over thirty years--this edition also includes a foreword by French Surrealist poet Paul Eluard and a concise biography of the author by poet Jeremy Reed. In addition, an introduction by series editor Candice Black details the links between Maldoror and the Surrealist movement.