A brilliant new translation of a classic work on violence and revolution as seen through mythology and art The Ruin of Kasch takes up two subjects--"the first is Talleyrand, and the second is everything else," wrote Italo Calvino when the book first appeared in 1983. Hailed as one of those rare books that persuade us to see our entire civilization in a new light, its guide is the French statesman Charles-Maurice de Talleyrand, who knew the secrets of the ancien r gime and all that came after, and was able to adapt the notion of "legitimacy" to the modern age. Roberto Calasso follows him through a vast gallery of scenes set immediately before and after the French Revolution, making occasional forays backward and forward in time, from Vedic India to the porticoes of the Palais-Royal and to the killing fields of Pol Pot, with appearances by Goethe and Marie Antoinette, Napoleon and Marx, Walter Benjamin and Chateaubriand. At the center stands the story of the ruin of Kasch, a legendary kingdom based on the ritual killing of the king and emblematic of the ruin of ancient and modern regimes. Offered here in a new translation by Richard Dixon, The Ruin of Kasch is, as John Banville wrote, "a great fat jewel-box of a book, gleaming with obscure treasures."
Calasso is one of the greatest modern writers, and his work defies all generic conventions: a fascinating blend of history, poetry, scholarship, and philosophy. The era of great artists and masterpieces has perhaps passed, but there is still room for a genius like Calasso to write this postmodern pastiche. This work is a profound meditation on modernity, which he considers as beginning with the French Revolution. He considers the history of the French Revolution and its aftermath, and especially the role of Tallyrand, whom Calasso find fascinating for many reasons. Beyond the French Revolution, however, Calasso ranges far and wide, from Max Stirner to Marx to Nietzsche to Dostoevsky to Melville and even back to Hindu mythology. The coherency of this book is at the level of poetry or an epic novel such as Moby Dick, not at the level of logical argument. Those looking for a tightly focused argument or linear history should go elsewhere; those capable of appreciating a poetic and philosophic historically-informed mediation on the problem of our identity as moderns will read and savor this unique performance.
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