He traces LSD's path from a promising psychiatric research medicine to a recreational drug sparking hysteria and prohibition. We follow Dr. Hofmann's trek across Mexico to discover sacred plants related to LSD, and listen in as he corresponds with other notable figures about his remarkable discovery. Underlying it all is Dr. Hofmann's powerful conclusion that mystical experience may be our planet's best hope for survival. Whether induced by LSD, meditation, or arising spontaneously, such experiences help us to comprehend "the wonder, the mystery of the divine‹in the microcosm of the atom, in the macrocosm of the spiral nebula, in the seeds of plants, in the body and soul of people." More than sixty years after the birth of Albert Hofmann's problem child, his vision of its true potential is more relevant, and more needed, than ever.

    Aspirin, the world's most widely used drug, is based on compounds originally extracted from the bark of a willow tree, and more than a quarter of medicines found on pharmacy shelves contain plant compounds. Now Western medicine, faced with health crises such as AIDS, Alzheimer's disease, and cancer, has begun to look to the healing plants used by indigenous peoples to develop powerful new medicines. Nowhere is the search more promising than in the Amazon, the world's largest tropical forest, home to a quarter of all botanical species on this planet—as well as hundreds of Indian tribes whose medicinal plants have never been studied by Western scientists. In Tales of a Shaman's Apprentice, ethnobotanist Mark J. Plotkin recounts his travels and studies with some of the most powerful Amazonian shamans, who taught him the plant lore their tribes have spent thousands of years gleaning from the rain forest.For more than a decade, Dr. Plotkin has raced against time to harvest and record new plants before the rain forests' fragile ecosystems succumb to overdevelopment—and before the Indians abandon their own culture and learning for the seductive appeal of Western material culture. Tales of a Shaman's Apprentice relates nine of the author's quests, taking the reader along on a wild odyssey as he participates in healing rituals; discovers the secret of curare, the lethal arrow poison that kills in minutes; tries the hallucinogenic snuff epena that enables the Indians to speak with their spirit world; and earns the respect and fellowship of the mysterious shamans as he proves that he shares both their endurance and their reverence for the rain forest. Mark Plotkin combines the Darwinian spirit of the great writer-explorers of the nineteenth century—curious, discursive, and rigorously scientific—with a very modern concern for the erosion of our environment and the vanishing culture of native peoples.

    “It is guilty and should admit itself so.” The word, the flesh, and the devil are explored by this extraordinary intellect in the work of eight outstanding authors: Emily Bronte, Baudelaire, Blake, Michelet, Kafka, Proust, Genet and De Sade.Born in France in 1897, Georges Bataille was a radical philosopher, novelist, and critic whose writings continue to exert a vital influence on today's literature and thought.

    This new translation of his complete works offers welcome, readable access to Lacan's seminal thinking on diverse subjects touched upon over the course of his inimitable intellectual career. .

    Presenting itself as an investigation into the suicide of a close friend—perhaps real, perhaps fictional—more than twenty years earlier, Levé gives us, little by little, a striking portrait of a man, with all his talents and flaws, who chose to reject his life, and all the people who loved him, in favor of oblivion. Gradually, through Levé’s casually obsessive, pointillist, beautiful ruminations, we come to know a stoic, sensible, thoughtful man who bears more than a slight psychological resemblance to Levé himself. But Suicide is more than just a compendium of memories of an old friend; it is a near-exhaustive catalog of the ramifications and effects of the act of suicide, and a unique and melancholy farewell to life.

    Here Girard explores violence as it is represented and occurs throughout history, literature and myth. Girard's forceful and thought-provoking analyses of Biblical narrative, Greek tragedy and the lynchings and pogroms propagated by contemporary states illustrate his central argument that violence belongs to everyone and is at the heart of the sacred.

    In trying to explain who he was and how he came to be the object of others' admiration and abuse, Rousseau analyses with unique insight the relationship between an elusive but essential inner self and the variety of social identities he was led to adopt. The book vividly illustrates the mixture of moods and motives that underlie the writing of autobiography: defiance and vulnerability, self-exploration and denial, passion, puzzlement, and detachment. Above all, Confessions is Rousseau's search, through every resource of language, to convey what he despairs of putting into words: the personal quality of one's own existence.

    Compiled by an international team of experts, each entry is given its complete range of interpretations - sexual and spiritual, official and subversive, cultural and religious - to bring meaning and insight to the symbol.

    They are offered here both in their original texts and in superb English translations by Louise Varèse. Mrs. Varèse first published her versions of Rimbaud’s Illuminations in 1946. Since then she has revised her work and has included two poems which in the interim have been reclassified as part of Illuminations. This edition also contains two other series of prose poems, which include two poems only recently discovered in France, together with an introduction in which Miss Varèse discusses the complicated ins and outs of Rimbaldien scholarship and the special qualities of Rimbaud’s writing. Rimbaud was indeed the most astonishing of French geniuses. Fired in childhood with an ambition to write, he gave up poetry before he was twenty-one. Yet he had already produced some of the finest examples of French verse. He is best known for A Season in Hell, but his other prose poems are no less remarkable. While he was working on them he spoke of his interest in hallucinations––"des vertiges, des silences, des nuits." These perceptions were caught by the poet in a beam of pellucid, and strangely active language which still lights up––now here, now there––unexplored aspects of experience and thought.

    Rick Strassman conducted US DEA-approved clinical research at the University of New Mexico in which he injected 60 volunteers with DMT, one of the most powerful psychedelics known. His detailed account of those sessions is an inquiry into the nature of the human mind and the therapeutic potential of psychedelics. DMT, a plant-derived chemical that is also manufactured by the human brain, consistently produced near-death and mystical experiences. Many volunteers reported convincing encounters with intelligent nonhuman presences, especially "aliens." Nearly all felt that the sessions were among the most profound experiences of their lives.Strassman's research connects DMT with the pineal gland, considered by Hindus to be the site of the seventh chakra and by René Descartes to be the seat of the soul. DMT: The Spirit Molecule makes the case that DMT, naturally released by the pineal gland, facilitates the soul's movement in and out of the body and is an integral part of the birth and death experiences, as well as the highest states of meditation and even sexual transcendence. Strassman also believes that alien abduction experiences are brought on by accidental releases of DMT. If used wisely, DMT could trigger a period of remarkable progress in the scientific exploration of the most mystical regions of the human mind and soul.

    Set in almost uninhabitable regions of Central Australia, The Songlines asks and tries to answer these questions: Why is man the most restless, dissatisfied of animals? Why do wandering people conceive the world as perfect whereas sedentary ones always try to change it? Why have the great teachers—Christ or the Buddha—recommended the Road as the way. to salvation? Do we agree with Pascal that all man's troubles stem from his inability to sit quietly in a room?We do not often ask these questions today for we commonly assume that living in a house is normal and that the wandering life is aberrant. But for more than twenty years Chatwin has mulled over the possibility that the reverse might be the case.Pre-colonial Australia was the last landmass on earth peopled not by herdsmen, farmers, or city dwellers, but by hunter-gatherers. Their labyrinths of invisible pathways across the continent are known to us as Songlines or Dreaming Tracks, but to the Aboriginals as the tracks of their ancestors—the Way of the Law. Along these "roads" they travel in order to perform all those activities that are distinctively human—song, dance, marriage, exchange of ideas, and arrangements of territorial boundaries by agreement rather than force.In Chatwin's search for the Songlines, Arkady is an ideal friend and guide: Australian by birth, the son of a Cossack exile, with all the strength and warmth of his inheritance. Whether hunting kangaroo from a Land Cruiser, talking to the diminutive Rolf in his book-crammed trailer, buying drinks for a bigoted policeman (and would-be writer), cheering as Arkady's true love declares herself (part of The Songlines is a romantic comedy), Chatwin turns this almost implausible picaresque adventure into something approaching the scale of a Greek tragedy.The life of the Aboriginals stands in vivid contrast, of course, to the prevailing cultures of our time. And The Songlines presents unforgettable details about the kinds of disputes we know all too well from less traumatic confrontations: over sacred lands invaded by railroads, mines, and construction sites, over the laws and rights of a poor people versus a wealthy invasive one. To Chatwin these are but recent, local examples of an eternal basic distinction between settlers and wanderers. His book, devoted to the latter, is a brilliant evocation of this profound optimism: that man is by nature not a bellicose aggressor but a pacific, song-creating, adaptive species whose destiny is to quest for the truth.

    Some mestizos have migrated to Amazon towns and cities, such as Iquitos and Pucallpa; most remain in small villages. They have retained features of a folk Catholicism and traditional Hispanic medicine, and have incorporated much of the religious tradition of the Amazon, especially its healing, sorcery, shamanism, and the use of potent plant hallucinogens, including ayahuasca. The result is a uniquely eclectic shamanist culture that continues to fascinate outsiders with its brilliant visionary art. Ayahuasca shamanism is now part of global culture. Once the terrain of anthropologists, it is now the subject of novels and spiritual memoirs, while ayahuasca shamans perform their healing rituals in Ontario and Wisconsin. "Singing to the Plants" sets forth just what this shamanism is about--what happens at an ayahuasca healing ceremony, how the apprentice shaman forms a spiritual relationship with the healing plant spirits, how sorcerers inflict the harm that the shaman heals, and the ways that plants are used in healing, love magic, and sorcery.

    In this extraordinary work Nietzsche traces his life, work and development as a philosopher, examines the heroes he has identified with, struggled against and then overcome - Schopenhauer, Wagner, Socrates, Christ - and predicts the cataclysmic impact of his 'forthcoming revelation of all values'. Both self-celebrating and self-mocking, penetrating and strange, Ecce Homo gives the final, definitive expression to Nietzsche's main beliefs and is in every way his last testament.

    Dick is not only one of the “most valiant psychological explorers of the 20th century” (The New York Times) but a source of divine revelation. Dick, whose work inspired such films as Blade Runner, Total Recall, and Minority Report, dedicated his life to solving one ultimately unanswerable question: What is real?In the riveting style that won accolades for The Adversary, Emmanuel Carrère follows Dick’s strange odyssey from his traumatic beginnings in 1928, when his twin sister died in infancy, to his lonely end in 1982, beset by mystical visions of swirling pink lights, three-eyed invaders, and messages from the Roman Empire. Drawing on interviews as well as unpublished sources, Carrère traces Dick’s multiple marriages, paranoid fantasies, and vertiginous encounters with the drug culture of sixties California. He vividly conjures the spirit of this restless observer of American postwar malaise, whose more than fifty novels subverted the materials of science fiction—parallel universes, intricate time loops, collective delusions—to create classic works of contemporary anxiety.As disturbing and engrossing as a book by its subject, Carrère’s unconventional work interweaves life and art to reveal the maddening genius whose writing foresaw—from cloning to reality TV—a world that looks ever more like one of his inventions.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.