The Philosopher of Failure
For some, he was one of the most subversive thinkers of his time—a twentieth-century Nietzsche, only darker and with a better sense of humor. Many, especially in his youth, thought him to be a dangerous lunatic. Others saw him just as a charmingly irresponsible young man who posed no dangers to others—only to himself, perhaps. When his book on mysticism went to press, the typesetter (a good, God-fearing man), realizing how blasphemous it was, refused to touch it. The publisher washed his hands of the matter and the author had to publish his blasphemy elsewhere, at his own expense.
Emil Cioran was a Romanian-born French thinker and author of some two dozen books of savage, unsettling beauty.5 He is an essayist in the best French tradition, and though French was not his native tongue, some think him one of the finest writers in that language. His writing style is whimsical, unsystematic, fragmentary; he is celebrated as a master of aphorism. For Cioran, however, the “fragment” was more than a writing style: it was a way of life. He called himself un homme de fragment. He was deeply suspicious of systematic philosophy; to concoct “philosophical systems” was a charlatan’s job, he thought. He wanted to be a thinker pure and simple—Privatdenker, he called himself, reaching out for a better word—not “philosopher.”
Cioran often contradicts himself, but that’s the least of his worries. With him, self-contradiction is not even a weakness, but the sign of a mind alive. For writing is not about consistency, nor about persuasion or keeping the reader entertained. Writing is not even about literature. For Cioran, as for Montaigne several centuries earlier, writing has a performative function: you write to act upon yourself—to pick up the pieces after a personal disaster or to pull yourself out of a bad depression; to come to terms with a deadly disease or to mourn the loss of a close friend. You write not to go mad, not to kill yourself or others. In a conversation with the Spanish philosopher Fernando Savater, Cioran says at one point, “If I didn’t write, I could have become an assassin.”6 Human existence, at its core, is endless anguish and despair, and writing can make it a bit more bearable. One writes simply to stay alive and to stave off death: “un livre est un suicide différé,” Cioran writes in The Trouble with Being Born (De l’inconvénient d’être né), published in 1973.7Cioran wrote himself out of death over and over again. He composed his first book, On the Heights of Despair (Pe culmile disperării, published in 1934), when he was twenty-three years old, in just a few weeks, while suffering from a severe bout of insomnia. (Insomnia, he said repeatedly, was “the greatest drama of my life.”8) The book—which remains one of his finest—marked the beginning of a strong, intimate link in his life between writing and sleeplessness:
I’ve never been able to write otherwise than in the midst of the depression [cafard] brought about by my nights of insomnia. For seven years I could barely sleep. I need this depression, and even today before I sit down to write I play a disk of Gypsy music from Hungary.9That Cioran is an unsystematic thinker doesn’t mean his work lacks unity. In fact, it is kept tightly together not only by his singular writing style, but also by a distinct set of themes, motifs, and idiosyncrasies. Among them failure figures prominently. Cioran was in love with failure: its specter haunts his whole oeuvre. Throughout his life, he never strayed away from failure. He studied its many incarnations from varying angles and at different moments, as true connoisseurs do, and looked for it in the most unexpected places.
Not only individuals can end up as failures, Cioran believed, but also societies, peoples, and countries. Especially countries. “I was fascinated with Spain,” he said once, “because it offered the example of the most spectacular failure. The greatest country in the world reduced to such a state of decay!”10 Failure, for Cioran, is like the water of the Taoists: it seeps everywhere and permeates everything. Great ideas can be soaked with failure, and so can books, philosophies, institutions, and political systems.
The human condition itself is just another failed project: “No longer wanting to be a man,” he writes in The Trouble with Being Born, he is “dreaming of another form of failure.”11 The universe is one big failure, and so is life itself: “Before being a fundamental mistake,” he says, “life is a failure of taste which neither death nor even poetry succeeds in correcting.”12 Failure rules the world like the capricious God of the Old Testament. One of Cioran’s aphorisms reads, “ ‘You were wrong to count on me.’ Who can speak in such terms? God and the Failure.”13
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A Modern Gnostic
There is something distinctly Gnostic about Cioran’s thinking. Gnostic insights, images, and metaphors permeate his work, as scholars have noticed. A Short History of Decay, The Temptation to Exist, and The New Gods, writes Lacarrière, are “texts which match the loftiest flashes of Gnostic thought.”87 Like the Gnostics of old, Cioran sees the creation of the world as an act of divine failure. Human history and civilization are nothing but “the work of the devil.” In A Short History of Decay, he deems the God of this world “incompetent.”88 The French title of one of his most influential works (which in English has been published as The New Gods) says it all—Le Mauvais demiurge: “the evil demiurge.” With unconcealed sympathy, Cioran calls the Gnostics “fanatics of the divine nothingness,” and praises them for having “grasped so well the essence of the fallen world.”89 His Romanian roots continued to trouble him late in life. To have come from the Balkans was a shame nothing could diminish—except perhaps the fact that it was there that Thracians and Bogomils also lived: “I cannot forget that I have haunted the same whereabouts as they, nor that the former wept over the newborn and the latter, in order to justify God, held Satan responsible for the infamy of Creation.”90One of Cioran’s greatest obsessions is “the catastrophe of birth,” to which much of The Trouble with Being Born is dedicated. He cannot stress enough the enormity of this disaster: “We have lost, being born, as much as we shall lose, dying: Everything.” Like the Gnostics, he is convinced that “the world came about through a mistake.” Yet for him our coming into existence is more than an error: it is a metaphysical affront. Not even in old age could he come to terms with “the affront of being born.” True freedom is the freedom of the unborn. “I long to be free—desperately free. Free as the stillborn are free.” Cioran’s fascination with the unborn generates macabre aphorisms: “If I used to ask myself, over a coffin: ‘What good did it do the occupant to be born?’ I now put the same question about anyone alive.”91 This is the same man who, as a child, made friends with the village’s gravedigger, who supplied him with freshly dug skulls. He liked to play soccer with them.
In good Gnostic tradition, the cosmos is for Cioran in a “fallen” state, but so is the social and political world. Perhaps to transcend the political failures of his youth, the later Cioran sought to understand their deeper meaning, and to incorporate this understanding into the texture of his thinking. The result was a more nuanced philosophizing and a more humane thinker. His personal experiments with failure brought Cioran closer to a province of humanity to which he could not otherwise have had access: that of the ashamed and the humbled. In his French books you come across passages on failure of an inspired, drunken wisdom:
At the climax of failure, at the moment when shame is about to do us in, suddenly we are swept away by a frenzy of pride which lasts only long enough to drain us, to leave us without energy, to lower, with our powers, the intensity of our shame.92
A lifelong contemplation of his own limitations eventually changed Cioran. As he grew older, he seems to have become more tolerant, more accepting of other people’s flaws, follies, and oddities. Not, God forbid, that he ever ended up a “positive thinker.” He would remain, to the end, a prophet of decadence, a thinker of dark, apocalyptic apprehensions. In History and Utopia (Histoire et Utopie, published in 1960), he writes:
Whenever I happen to be in a city of any size, I marvel that riots do not break out every day: massacres, unspeakable carnage, a doomsday chaos. How can so many human beings coexist in a space so confined without destroying each other, without hating each other to death? As a matter of fact, they do hate each other, but they are not equal to their hatred. And it is this mediocrity, this impotence, that saves society, that assures its continuance, its stability.93
No, Cioran never became a defender of liberal democracy. But he may have learned to enjoy the comedy of the world—indeed, to take part in undermining the cosmic failure. His later thinking exhibits something that, for want of a better term, may be called joyous desperation (Cioran sees himself as un pessimiste joyeux). It’s the same pattern, over and over again: existence is found to be outrageous, plain awful, and yet somehow in that very awfulness there lies a promise of redemption. Life is unbearable, insomnia a killer, le cafard is eating at you slowly, and yet this is something that you can handle through writing. “Everything that is expressed becomes more tolerable.”94 Writing is a magnificent witchcraft that acts upon its practitioners and renders their lives a touch more livable. A catastrophe, to the extent that it is narratable, carries within itself the seeds of its own redemption.
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Failing Better
One of the most refreshing things about Cioran’s later writings is his voice as a social critic. In History and Utopia, there is a chapter called “Letter to a Faraway Friend.” The open letter was published originally in La Nouvelle revue française in 1957. The “faraway friend,” living behind the Iron Curtain, was the Romanian philosopher Constantin Noica. Like Cioran, Noica had been a protégé of Nae Ionescu, and that must have brought them close. In this text, Cioran harpoons the political regime imposed on Eastern Europe by the Red Army for making a mockery of an important philosophical idea. “The capital reproach one can address to your regime is that it has ruined Utopia, a principle of renewal in both institutions and peoples.”104 A good Gnostic, Cioran believed that all power was evil, and he had no sympathy for any political regime; but one that needed Soviet tanks and secret police for its foundation and perpetuation was beyond the pale.
In his letter, Cioran subjects the West to an almost equally severe critique. “We find ourselves dealing with two types of society—both intolerable,” he writes. “And the worst of it is that the abuses in yours permit this one to persevere in its own, to offer its own horrors as a counterpoise to those cultivated chez vous.”105 The West shouldn’t congratulate itself for “saving” civilization. The decline is already so advanced, Cioran believes, that nothing can be saved any more—except perhaps for appearances. The two types of society are not that different from one another. In the final analysis, it’s only a matter of nuance:
The difference between regimes is less important than it appears; you are alone by force, we without constraint. Is the gap so wide between an inferno and a ravaging paradise? All societies are bad; but there are degrees, I admit, and if I have chosen this one, it is because I can distinguish among the nuances of trumpery.106For all its analytical and stylistic merits, Cioran’s open letter turned out to be a major gaffe. The addressee, who was trying to keep a low profile in the Romanian countryside, was an exceedingly well-mannered man, and in the habit of answering all letters, closed or open, regardless of where they came from. A superbly naïve man as well, Noica, upon completing his essay-response, addressed it to his friend in Paris and duly dropped the envelope in a mailbox. The Romanian secret police, which had its fingers everywhere, including in all the country’s mailboxes, didn’t miss it and didn’t like the exchange, and Noica had to pay with several years of political prison.
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“I Used to Be Cioran”
E. M. Cioran died on June 20, 1995. In a sense, though, he had left well before then. For the last several years he suffered from Alzheimer’s disease and had been interned at the Broca Hospital in Paris. Fearing precisely such an ending, he had planned to commit suicide with his longtime partner, Simone Boué. They were to die together, like the Koestlers. But the disease progressed faster than he had anticipated, and the plan failed. Cioran had to die the most humiliating of deaths, one that took several slow years to do its work.
At first, there were just some worrying signs: one day he could not find his way back home from the city, which he—a consummate walker—knew as if he had been born there. Then he started losing his memory. His fabulous sense of humor, apparently, he lost last. One day, a passerby asked him in the street, “Are you Cioran by any chance?” His answer: “I used to be.”114 When someone brought to him—and read from—the newly published English translation of The Trouble with Being Born, he listened carefully and then exclaimed, “Ce type écrit mieux que moi!” (This guy writes better than I do!).115 But the signs became too many and too serious to ignore: he started to forget at such an alarming rate that he had to be interned. Eventually, even words failed him: he could no longer name the most basic things. Then, it was the mind’s turn. In the end, he forgot who he was altogether.
At one point during his long, final suffering, in a brief moment of lucidity, Cioran whispered to himself, “C’est la démission totale!”116 It was the grand, ultimate failure, and he didn’t fail to recognize it for what it was.
IN PRAISE OF FAILURE
Four Lessons in Humility
COSTICA BRADATAN