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Vastralaya

Evan Shively (Perseus271)

Throughout history, throughout most of the world, psychopaths have gotten a bad rap. That is quite understandable since almost all of the world's religious and social philosophies have little use for the individual except as a tool to be placed in service to their notion of something else: "God," or the "collective," or the "higher good" or some other equally undefinable term. Only rarely, such as in Zen and Tibetan Buddhism, and some school of Existentialism, is the individual considered primal. Here, finally, is a book which celebrates, encourages and educates the best part of ourselves--the Psychopath. "You take people as you find them. They all have a secret life inside, and they usually die with it never coming out. That is the waste; the waste is not something they are not...the waste is not living what they are; however, what they are came about...came into existence...so what you do with your cards is what is important." -- Christopher S. Hyatt, Ph.D.

A Time Out and Daily News Top Ten Book of the Year upon its initial release, Please Kill Me is the first oral history of the most nihilist of all pop movements. Iggy Pop, Danny Fields, Dee Dee and Joey Ramone, Malcom McLaren, Jim Carroll, and scores of other famous and infamous punk figures lend their voices to this definitive account of that outrageous, explosive era. From its origins in the twilight years of Andy Warhol's New York reign to its last gasps as eighties corporate rock, the phenomenon known as punk is scrutinized, eulogized, and idealized by the people who were there and who made it happen.

This collection of eleven essays originally appeared in France thirty years ago and created a literary whirlwind on the Left Bank. Cioran writes incisively about Western civilizations, the writer, the novel, mystics, apostles, and philosophers."A sort of final philosopher of the Western world. His statements have the compression of poetry and the audacity of cosmic clowning."—Washington Post"An intellectual bombshell that blasts away at all kinds of cant, sham and conventionality. . . . [Cioran's] language is so erotic, his handling of words so seductive, that the act of reading becomes an encounter in the erogenous zone."—Jonah Raskin, L.A. Weekly

The Poetry of DeathA Short History of Decay is a compendium of pessimistic aphorism, a sort of cosmopolitan collection of Gnostic scripture through the ages. It is entertaining, observationally acute, and compelling - all descriptions that the author would object to strenuously. I think he would accept ‘poetry of death’ much more readily, however. There is little except for death about which Cioran has anything good to say.Cioran begins as a sort of secular Qoholeth from the Old Testament: All is vanity. And Cioran means everything, especially those conceits of faith by religionists who have lost the capacity to doubt: “What is the Fall but the pursuit of a truth and the assurance you have found it, the passion for a dogma, domicile within a dogma?” Cioran’s hero is the doubting Hamlet, he who hesitates, who doubts, who questions what he knows incessantly. “The devil pales beside the man who owns a truth, his truth”But it is not religion per se that is the source of evil, it is human self-assurance: “Even when he turns from religion, man remains subject to it... His power to adore is responsible for all his crimes: a man who loves a god unduly forces other men to love his god, eager to exterminate them if they refuse... We kill only in the name of a god or of his counterfeits.” One can almost hear Nietzsche clapping with approval in the distance.So the fundamental problem is idealism. People who have a plan for making things better are the carriers of a deadly mental virus. These small-time peddlers of happiness scam a willing audience into believing that it is possible to reduce the net amount of misery in the world. Thus “Society is an inferno of saviors!” What human beings don’t or won’t recognise is that existence is misery. Schopenhauer has now joined Nietzsche in approbation.The only cure for miserable existence is the termination of existence, suicide. This is the only aspect of existence we can control. Contrary to the dictum of St. Paul that our lives are not our own, Cioran makes the rather more obvious point that they are. It is the only thing we can call entirely our own: “We change ideas like neckties; for every idea, every criterion comes from outside, from the configurations and accidents of time... death is the true criterion, the only one contained within us.” Writing seven years after Camus’s Sisyphus, he managed to radicalise even that paean to control 0ver one’s existence.Philosophy, actually thought in general, is not helpful in the situation. “The abundance of solutions to the aspects of existence is equaled only by their futility.” Philosophies are at best consoling fictions, and at worst reasons to persecute other human beings. “All of life’s evils come from a ‘conception of life’,” Cioran thinks. In this he is not far from Kierkegaard’s distrust of philosophy: “Life is not a problem to be solved, but a reality to be experienced.”In fact Cioran’s real issue is with language itself, with words pretending to be more than grunts and scratches. He thinks “Man is the chatterbox of the universe.” We throw words around as if they had substance. But as Wittgenstein has demonstrated, words refer only to other words. Consequently, Cioran concludes “We die in proportion to the words which we fling around us.” Ludwig would likely agree.The only acceptable use of words, indeed the only ‘reasonable’ activity for a human being is poetry. At least poetry doesn’t pretend to be more than it is. In fact it doesn’t pretend to be anything at all. Poetry is a personal act of construction. “Only the poet takes responsibility for ‘I,’ he alone speaks in his own name, he alone is entitled to do so.” T. S. Eliot’s The Wasteland seems a model for just this view.Ultimately it is the ancient Gnostic appreciation of the world - shared certainly by the relatively optimistic(!) Thomas Ligotti - which drives Cioran: “Injustice governs the universe. Everything which is done and undone there bears the stamp of a filthy fragility, as if matter were the fruit of a scandal at the core of nothingness.” This seems to me outstanding poetry, as does his summary of his own life “In Time’s sentence men take their place like commas, while, in order to end it, you have immobilized yourself into a period.”

Stoned, rolling from here to there on that route from megasex to metatheater, &amp; gathering no moss--just a certain amount of grundge--this is young Marco Vassi's search for...who knows. It begins with a Gurdjieffite psychic who comments that killing himself will be the "one significant act" of which he's capable; goes on to LSD &amp; Scientology where a lovely girl smiles "deep into his libido," travels west to a commune, the Haight, the nude encounter, a place called the Grainery which is half macrobiotic, half fruitarian, &amp; finally to a hospital as an unpaid aide where supposedly he's getting into other people's heads before he's his Laingian revelation. Sort of like that soiled stub of a Greyhound bus ticket, it's just a tedious remnant of the world we've seen too often in books like this even if Vassi has managed to retain some of his youthful energy.--Kirkus

Jean Genet's seminal Our Lady Of The Flowers (1943) is generally considered to be his finest fictional work. The first draft was written while Genet was incarcerated in a French prison; when the manuscript was discovered and destroyed by officials, Genet, still a prisoner, immediately set about writing it again. It isn't difficult to understand how and why Genet was able to reproduce the novel under such circumstances, because Our Lady Of The Flowers is nothing less than a mythic recreation of Genet's past and then - present history. Combining memories with facts, fantasies, speculations, irrational dreams, tender emotion, empathy, and philosophical insights, Genet probably made his isolation bearable by retreating into a world not only of his own making, but one which he had total control over.

The Story of O relates the progressive willful debasement of a young and beautiful Parisian fashion photographer, O, who wants nothing more than to be a slave to her lover, René. The test is severe—sexual in method, psychological in substance… The artistic interest here has precisely to do with the use not only of erotic materials but also erotic methods, the deliberate stimulation of the reader as a part of and means to a total, authentic literary experience.—Eliot Fremont-Smith, The New York Times

The definitive collection of anti-establishment American poetry, from Bob Dylan and Jack Kerouac to Sapphire and Tupac Shakur "Welcome to the Wild West of American Poetry, the Hole-In-The-Wall of Blakean vision, a two-fisted saloon of New World dreams where you'll meet the greatest Outlaw voices from the post-war era to the present day. Here are the inventors of the Beat generation and the heroes of today's Spoken Word movement, poets who don't get taught in American poetry 101, yet hold the literary future in their tattooed hands." So begins The Outlaw Bible of American Poetry, a primer for generational revolt and poetic expression, and an enduring document of the visionary tradition of authenticity and nonconformity in literature. From the Beat poetry of the '50s to the spoken word of the 1990s, The Outlaw Bible of American Poetry brings readers the words, visions, and extravagant lives of bohemians, beatniks, hippies, punks, and slackers. This exuberant manifesto includes lives of the poets, on-the-scene testimony, seminal underground articles never before collected, photographs of clubs and cafes, interviews, and, above all, the poems.

The Outlaw Bible of American Literature will serve as a primer for generational revolt and an enduring document of the visionary tradition of authenticity and nonconformity in literature. This exuberant manifesto includes lives of the writers, on-the-scene testimony, seminal underground articles never before collected, photographs, cartoons, drawings, interviews, and, above all, the writings. Beat, Punk, Noir, Prison, Porn, Cyber, Queer, Anarchist, Blue Collar, Pulp, Sci-Fi, Utopian, Mobster, Political—all are represented. The Bible includes fiction, essays, letters, memoirs, journalism, lyrics, diaries, manifestoes, and selections from seminal film scripts, including Easy Rider, Apocalypse Now, and Taxi Driver. The editors have brought together an extravagant, eclectic, searing, and unforgettable body of work, showcasing Hustlers, Mavericks, Contrarians, Rockers, Barbarians, Gangsters, Hedonists, Provocateurs, Hipsters, and Revolutionaries—all in one raucous cauldron of rebellion and otherness. This prose companion to the best-selling award-winning Outlaw Bible of American Poetry features selections from Hunter S. Thompson, Exene Cervenka, Patti Smith, Dennis Cooper, Malcolm X, Sonny Barger, Maggie Estep, Lenny Bruce, Henry Miller, R. Crumb, Philip K. Dick, Iceberg Slim, Gil Scott-Heron, Kathy Acker, Jim Carroll, Charles Mingus, Norman Mailer, and many others.

Like its highly acclaimed companions, The Outlaw Bible of American Poetry and The Outlaw Bible of American Literature, this edition is a prime for generational revolt and an enduring document of the visionary tradition of authenticity and nonconformity in American lives and letters. A raucous eruption of language and a showcase for the best essayists of our time, The Outlaw Bible of American Essays chronicles American history and measures the boundlessness of dissident thought.

Adorned with gripping cover art by Man Ray and translated by renowned scholar Dr. Paul J. Gillette, this dramatic collection of de Sade writings includes "Justine," "Juliette," "120 Days of Sodom," "Philosophy In The Bedroom" and many works often scattered among "pastiche" versions of de Sades oeuvre. Free of the author's repetitions, polemics and syntactically complex 18th century phrases, this edition captures the drama of de Sade's forays into human sexuality including such practices as voyeurism, fetishism, and, most famously, sadism. Vilified by critics in the 1800s as "Monstrous… depraved… An odious book by an even more odious man," de Sades depiction of his personal adventures has been studied and enjoyed by readers in light of the 20th and 21st centuries.  Readers will also discover a mind as free as de Sades adventures were uninhibited, for he discusses natural evolution 25 years before Darwin's birth; postulates the existence of the unconscious mind a century before Sigmund Freud; and probes social mores decades before the work of Margaret Mead. He also espouses political ideas that were put into practice by such diverse figures as Joseph Stalin, Adolph Hitler and Fidel Castro.  Born into French nobility in 1740, Marquis de Sade continues to open minds to new human experience more than 250 years later in this dramatic new release from Holloway House Publishing.

As a Dick fan, I picked up this book at an obscure book shop that stocks only rarities and valuable first editions. I'm not quite sure whether this was a rarity or a valuable first edition, but I'm much more certain that I'm glad I bought it.This book collects most of Dick's important writings other than his published novels, including assorted essays and speeches as well as some scraps from his unpublished work. For a man whose body of work is so legendary and also so strange, this collection really helps to fill in the gaps and let us better understand the man himself. Only through hearing him tell stories other than the ones he made up can we come to hear the voice behind the words.I would not say this is one of my favourites, or even a very informative book in the educational sense. Instead, its value comes in its ability to help me understand Dick. I think attempting to read VALIS without having first read this would have been impossible. Dick is a complicated figure, both for his own strange experiences and his own strange way of dealing with them. His writing is both fascinating and gripping. It is interesting to see the ways in which this is still true when he is not writing "in his element," so to speak.Within this book there is much repetition, especially in the section on Dick's views of science fiction literature. However, I cannot fault Sutin for that, as his collection is well-edited. It gives us what is needed and no more or less (perhaps just a little less). I cannot even really blame Dick, as many of these are actually delivered speeches or published articles. Hearing him talk about his own experiences with poverty, I definitely do not blame him for not always putting in his all. Even an author has to get paid. Make it rain, y'all.This book is a good resource for anyone fascinated by Dick, the man. Fans of his novels will not find much of the same here, nor will fans of science fiction in general. Dick, however, has much to say and much worth saying (it does well not to confuse the two). This book should adorn the shelves of any scholar on his life and work. Its absence would be quite improper.

Narcotics, stimulants and hallucinogens . . . these drugs have always affected far more than the perceptions, minds and moods of their users. Writing on Drugs explores the profound and pervasive nature of their influence on contemporary culture. It reads Coleridge on opium, Freud on cocaine, Michaux on mescaline and Burroughs on them all, and with such writers it begins to understand the many ways in which the modern world has found itself on drugs. Psychoactive substances have been integral to its economic history, its politics, media and technologies. They have influenced its poetry and stories, and shaped some of its most fundamental philosophies. They have even exposed the neurochemistry of a human brain which, like its cultures, has never been drug-free.

The original edition of this text found common ground between student radicals and hippie dropouts in their mutual rejection of technocracy -- the regime of corporate and technological expertise that dominates industrial society. The book traces the intellectual underpinnings of the two groups in the writings of Herbert Marcuse and Norman O. Brown, Allan Ginsberg and Paul Goodman.

Only Georges Bataille could write, of an eyeball removed from a corpse, that "the caress of the eye over the skin is so utterly, so extraordinarily gentle, and the sensation is so bizarre that it has something of a rooster's horrible crowing." Bataille has been called a "metaphysician of evil," specializing in blasphemy, profanation, and horror.Story of the Eye, written in 1928, is his best-known work; it is unashamedly surrealistic, both disgusting and fascinating, and packed with seemingly endless violations. It's something of an underground classic, rediscovered by each new generation. Most recently, the Icelandic pop singer Björk Guðdmundsdóttir cites Story of the Eye as a major inspiration: she made a music video that alludes to Bataille's erotic uses of eggs, and she plans to read an excerpt for an album.Warning: Story of the Eye is graphically sexual, and is only suited for adults who are not easily offended.

Across Bataille's oeuvre, represented in this volume by essays touching on fields of intellectual inquiry from sociology to metaphysics, as well as literary works of phenomenological introspection and erotic surrealism, the refrain to which he constantly returns might be summed up as a search to define the conditions of human freedom. This liberty which he pursues, as the reader ultimately discovers, transcending banal notions of social relations or even personal will, exists only in our capacity to live beyond utility and purpose, beyond reasons – indeed, beyond reason, that very ability to reason and plan for an intuited future which, as Bataille acknowledges, determines our humanity as such. Nevertheless, what Bataille suggests is neither a regression to animality, nor a quixotic diversion bearing no relevance to real social life. As he illustrates, more or less explicitly, in works exploring fascism, archaic religion, and his own speculative meta-economics, the irruption of an irrational, unassimilable excess of energy occurs continuously and ineluctably. Bataille, whose writings bookend the rise and fall of fascism and the second World War, was issuing a warning: unless we recognize and engage that excess, unless we find ways to successfully live excessively on our own terms, then heterogeneous force will blindly overtake us in the forms of social disintegration, cults of personality, and war.

PAPERBACK INCLUDES TWO NEW CHAPTERSDavid Cronenberg is one of the most fascinating filmmakers in the world today. His provocative work has stimulated debate and received major retrospectives in museums, galleries, and cinematheques around the world. William Beard's The Artist as Monster was the first book-length scholarly work in English on Cronenberg's films, analyzing all of his features from Stereo (1969) to Crash (1996). In this paperback edition, Beard includes new chapters on eXistenZ (1999) and Spider (2002).Through close readings and visual analyses, Beard argues that the structure of Cronenberg's cinema is based on a dichotomy between, on the one hand, order, reason, repression, and control, and on the other, liberation, sexuality, disease, and the disintegration of self and of the boundaries that define society. The instigating figure in the films is a scientist character who, as Cronenberg evolves as a filmmaker, gradually metamorphoses into an artist, with the ground of liberation and catastrophe shifting from experimental subject to the self.Bringing a wealth of analytical observation and insight into Cronenberg's films, Beard's sweeping, comprehensive work has established the benchmark for the study of one of Canada's best-known filmmakers.

Gnostics have always sought to “know” rather than to accept dogma and doctrine, often to their peril. This inquiry into Gnosticism examines the character, history, and beliefs of a brave and vigorous spiritual quest that originated in the ancient Near East and continues into the present day.Lawrence Durrell writes, “This is a strange and original essay, more a work of literature than of scholarship, though its documentation is impeccable. It is as convincing a reconstruction of the way the Gnostics lived and thought as D.H. Lawrence’s intuitive recreation of the vanished Etruscans.”“A remarkable book for both knowledge and the understanding of Gnostic texts, so abstruse at first sight, and for the poetical interpretation of the Gnostic movement across history. Lacarriere is particularly well informed about the various currents and undercurrents of Gnosticism, and their perennial importance for the religious and the mystic mind.” — Marguerite YourcenarJacques Lacrarriere (1925-2005) was a French writer who studied philosophy and classic literature and was known for his work as a critic, journalist, and essayist. In 1991, he received le Grand Prix de l'Academie francaise (The Great Prize of the French Academy).

Essential library reference guide to the deviant performance artists and musicians of the industrial culture movement. Features Survival Research Laboratories, Throbbing Gristle, Cabaret Voltaire, SPK, Non, Monte Cazazza, Johanna Went, Sordide Sentimental, R&amp;N, and Z'ev. Some topics discussed: new brain research, forbidden medical texts &amp; films, creative crime and interesting criminals, modern warfare and weaponry, neglected gore films and their directors, psychotic lyrics in past pop songs, art brut. 10 interviews, essays, quotations, chronologies, bibliographies, discographies, filmographies, sources, and index.

I met Greil Marcus one weekday afternoon when I was supposed to be at work; I was leafing through sale books in the basement of Politics and Prose here in DC and he was at a table surrounded by copies of his newest book on Dylan getting ready to give a reading. I said "hi" and picked up a copy without asking and flipped through it and told him Love and Theft might be the best record of Dylan's career. Marcus didn't seem to be particularly interested in talking with me, so I put his book back down right in front of him and my greasy thumb left a big print on the shiny cover near Dylan's face that Marcus seemed to take note of with displeasure. True story.

After an odd new medical student arrives on campus, a dedicated local and his girlfriend become involved in bizarre experiments centering around the re-animation of dead tissue.

1985 American science fiction horror film by Stuart Gordon

After moving to a new town, two brothers discover that the area is a haven for vampires.

1987 film by Joel Schumacher, Richard Donner

The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth.

A criminal pleads insanity and is admitted to a mental institution, where he rebels against the oppressive nurse and rallies up the scared patients.

1975 drama film based on the novel by Ken Kesey

A sexually frustrated suburban father has a mid-life crisis after becoming infatuated with his daughter's best friend.

1999 American drama film directed by Sam Mendes

The adventures of high school and junior high students on the last day of school in May 1976.

An examination of the machinations behind the scenes at a real estate office.

1992 American drama directed by James Foley

Mourning his dead child, a haunted Vietnam War veteran attempts to uncover his past while suffering from a severe case of dissociation. To do so, he must decipher reality and life from his own dreams, delusions, and perceptions of de

Six complete strangers with widely varying personalities are involuntarily placed in an endless maze containing deadly traps.

1997 Canadian independent science-fiction horror film by Vincenzo Natali

A sole survivor tells of the twisty events leading up to a horrific gun battle on a boat, which began when five criminals met at a seemingly random police lineup.

1995 German-American neo-noir crime thriller film directed by Bryan Singer

A cyborg policewoman and her partner hunt a mysterious and powerful hacker called the Puppet Master.

Bucolic scenes from the outskirts of Paris are contrasted with stark footage from slaughterhouses.

Le Procès est un film germano-franco-italien réalisé par Orson Welles et sorti en 1962. C'est une adaptation du roman homonyme de Franz Kafka paru en 1926 (à titre posthume).Un matin, des inspecteurs de police font irruption chez Joseph K. Ils le déclarent en état d'arrestation et procèdent à une perquisition. Joseph K. les interroge sur les chefs d'accusation sans obtenir de réponse. Son voisinage porte sur lui des regards suspicieux, sinon accusateurs. Joseph K. cherche de quoi il pourrait être coupable, serait-ce pour fréquenter une locataire équivoque comme Mademoiselle Burstner ? Il se retrouve dans un gigantesque et étrange bâtiment pour l'instruction judiciaire où toute la procédure est sibylline : Joseph K. est perdu dans les arcanes de la justice et n'en finit pas d'errer de couloirs interminables en bureaux poussiéreux. Confronté à un juge, il n'apprend rien de plus sur les charges qui pèsent sur lui. Que des membres de sa famille, qu'un avocat ou que Léni, une employée pleine de sollicitude amoureuse se manifestent, ils ne font qu’exacerber son angoisse. Joseph K. abandonne alors toute résistance, comprenant qu'il sera inéluctablement déclaré coupable, peut-être simplement de vivre...

Two detectives, a rookie and a veteran, hunt a serial killer who uses the seven deadly sins as his motives.

1995 neo-noir crime thriller film by David Fincher

Two low-life punks invite themselves to a party at a posh villa and after being taunted by their snobbish hosts, hold everyone hostage and subject them to various forms of torture and mayhem.

A newly-engaged couple have a breakdown in an isolated area and must seek shelter at the bizarre residence of Dr. Frank-n-Furter.

A scientist has a horrific accident when he tries to use his newly invented teleportation device.

A troubled boy dives into a wondrous fantasy world through the pages of a mysterious book.

1984 West German epic fantasy film directed by Wolfgang Petersen

On another planet in the distant past, a Gelfling embarks on a quest to find the missing shard of a magical crystal, and to restore order to his world.

To save her ill son, a field mouse must seek the aid of a colony of rats, with whom she has a deeper link than she ever suspected.

An idiosyncratic FBI agent investigates the murder of a young woman in the even more idiosyncratic town of Twin Peaks.

American drama television series from 1990–1991

A comprehensive history of the medium and art of motion pictures.

Æon Flux is a mysterious and amoral secret agent from the country of Monica. Her motives or background are left unexplained, as are those of her antagonist/love, Trevor Goodchild. On her missions, she deals swift, bloody "justice" to

American science fiction animated television series

Set almost 100 years after Captain Kirk's five-year mission, a new generation of Starfleet officers set off in the U.S.S. Enterprise-D on their own mission to go where no one has gone before.

American science fiction television series from 1987–1994

After a deadly plague kills most of the world's population, the remaining survivors split into two groups - one led by a benevolent elder and the other by a malevolent being - to face each other in a final battle between good and evi

Mini series based on the Stephen King novel of the same name

In this comprehensive cosmology series Stephen Hawking looks at the entire universe, from the Big Bang to the end of time.

These are the brand new adventures of Merlin, the legendary sorcerer as a young man, when he was just a servant to young Prince Arthur on the royal court of Camelot, who has soon become his best friend, and turned Arthur into a great

2008 British fantasy-adventure television programme

Hosted by Morgan Freeman, Through the Wormhole will explore the deepest mysteries of existence - the questions that have puzzled mankind for eternity. What are we made of? What was there before the beginning? Are we really alone? Is 

An in-depth look at the history and pop cultural significance of horror films.

A novelist and a young horror fan attempt to save a small New England town which has been invaded by vampires.

When Osho, the world's most controversial guru, builds an Utopian city deep in the Oregon country, conflict with the locals escalates into a national scandal.

Filmed over a 10-year period, Steven Avery, a DNA exoneree who, while in the midst of exposing corruption in local law enforcement, finds himself the prime suspect in a grisly new crime.

Oliver Stone 's re-examination of under-reported events in American history.

2012 documentary series directed, produced, and narrated by Oliver Stone

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