The Milk Bowl Of Feathers Essential Surrealist Writings
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The Milk Bowl of Feathers: Essential Surrealist Writings by Mary Ann Caws Pdf
An exciting new collection of the essential writings of surrealism, the European avant-garde movement of the mind’s deepest powers Originating in 1916 with the avant-garde Dada movement at the famous Café Voltaire in Zurich, surrealism aimed to unleash the powers of the creative act without thinking. Max Ernst, André Breton, Tristan Tzara, Paul Éluard, Philippe Soupault, and Louis Aragon created a movement that spread wildly to all corners of the globe, inspiring not only poetry but also artists like Joan Miro and René Magritte and cinematic works by Antonin Artaud, Luis Bunuel, and Salvador Dalí. As the editor, Mary Ann Caws, says, “Essential to surrealist behavior is a constant state of openness, of readiness for whatever occurs, whatever marvelous object we might come across, manifesting itself against the already thought, the already lived.” Here are the gems of this major, mind-bending aesthetic, political, and humane movement: writers as diverse as Aragon, Breton, Dalí, René Char, Robert Desnos, Mina Loy, Paul Magritte, Alice Paalen, Gisele Prassinos, Man Ray, Kay Sage, and Elsa von Freytag-Loringhoven are included here, providing a grand picture of this revolutionary movement that shocked the world.
Originally published in 1945 by Les ditions de l'Oubli in Bucharest, The Passive Vampire caught the attention of the French Surrealists when an excerpt appeared in 1947 in the magazine La part du sable. Luca, whose work was admired by Gilles Deleuze, attempts here to transmit the "shudder" evoked by some Surrealist texts, such as Andr Breton's Nadja and Mad Love, probing with acerbic humor the fragile boundary between "objective chance" and delirium. Impossible to define, The Passive Vampire is a mixture of theoretical treatise and breathless poetic prose, personal confession and scientific investigation it is 18 photographs of "objectively offered objects," a category created by Luca to occupy the space opened up by Breton. At times taking shape as assemblages, these objects are meant to capture chance in its dynamic and dramatic forms by externalizing the ambivalence of our drives and bringing to light the nearly continual equivalence between our love-hate tendencies and the world of things.
Love poetry includes, yes, descriptions of the beloved. And images of a fantastic idyll complete with falling stars, the sound of the sea, and beautiful countryside. In the hands of Surrealists, though, love poetry also includes gravediggers and murderers, dice and garbage, snakeskin purses and the drunken kisses of cyclones. Surrealism, the movement founded in the 1920s on the ashes of Dada's nihilism, embraced absurdity, contradiction, and, to a supreme extent, passion and desire. From André Breton's battle cry of Mad Love to the quiet lyricism of Robert Desnos, Surrealist writers and artists obsessively expressed the permutations of that fundamental human state, love, and they did so with the vocabulary of the natural and unnatural world, the explicit language of sex, and a great deal of humor. Surrealist Love Poems brings together sixty poems--many of them translated into English for the first time--by Surrealists who charged their work through with all forms of eroticism. Within these pages you will read the magnificent love poems of Desnos, which rank among the greatest in twentieth-century poetry, and hear the voices of lesser known poets such as Salvador Dalí and Frida Kahlo. Poems by familiar Surrealists such as Breton, the movement's leader, and Paul Eluard join work by Octavio Paz and Philippe Soupault. Interspersed with the poetry are photographs by Man Ray, Lee Miller, and Claude Cahun. Expertly and energetically translated by Mary Ann Caws, this collection seeks to demonstrate the truth of Breton's words, that the embrace of poetry like that of bodies/As long as it lasts/Shuts out all the woes of the world.
Surrealist Poetry presents new English translations of nearly 150 poems alongside their original French and Spanish versions. Founded by André Breton in 1924, Surrealism sought to examine the unconscious realm by means of the written or spoken word. Seeking to expand the ability of language to evoke irrational states and improbable events, it consistently strove to transcend the linguistic status quo. By stretching language to its limits and beyond, the Surrealists transformed it into an instrument for exploring the human psyche. The twenty-three poets in this collection come not only from France, where Surrealism was invented, but also from Spain, Belgium, Martinique, Mauritius, Catalonia, Mexico, Chile, and Peru. Three of them were awarded the Nobel Prize for Literature (Vicente Aleixandre, Pablo Neruda, and Octavio Paz). Equipped with a critical introduction and a brief bibliography, this anthology will appeal to anyone interested in modern literature.
The Shadow and Its Shadow is a classic collection of writings by the Surrealists on their mad love of moviegoing. The forty-odd theoretical, polemical, and poetical re-visions of the seventh art in this anthology document Surrealism's scandalous and nonreductive take on film. Writing between 1918 and 1977, the essayists include such names as Andréeacute; Breton, Louis Aragon, Robert Desnos, Salvador Dalíiacute;, Luis Buñntilde;uel, and man Ray, as well as many of the less famous though equally fascinating figures of the movement. Paul Hammond's introduction limns the history of Surrealist cinemania, highlighting how these revolutionary poets, artists, and philosophers sifted the silt of commercial-often Hollywood-cinema for the odd fleck of gold, the windfall movie that, somehow slipping past the censor, questioned the dominant order. Such prospecting pivoted around the notion of lyrical behavior-as depicted on the screen and as lived in the movie house. The representation of such behavior led the Surrealists to valorize the manifest content of such denigrated genres as silent and sound comedy, romantic melodrama, film noir, horror movies. As to lived experience, moviegoing Surrealists looked to the spectacle's latent meaning, reading films as the unwitting providers of redemptive sequences that could be mentally clipped out of their narrative context and inserted into daily life-there, to provoke new adventures. "Hammond's book is a reminder of the wealth and range of surrealist writings on the cinema. . . . [T]he work represented here is still challenging and genuinely eccentric, locating itself in an 'ethic' of love, reverie and revolt." --Sight & Sound "Hammond, who is the author of the invaluable anthology The Shadow and its Shadow: Surrealist Writing on the Cinema (1978), writes about cinema independently of the changing academic and cultural fashions of film theory and abhors the dogmas of contemporary border-patrol thought. His magnetically appealing free-wheeling form of erudite film-critical writing is recognisable for its iconoclastic humour, non-authoritarian verve and playful witty discursivity." --John Conomos, Senses of Cinema Paul Hammond is a writer, editor, and translator living in Barcelona. He is the author of Constellations of Miróoacute;, Breton which was published by City Lights.
A series of personal and historical encounters with surrealism from one of its foremost practitioners in the United States. "Penelope Rosemont has given us, better than anyone else in the English language, a marvelous, meticulous exploration of the surrealist experience, in all its infinite variety."—Gerome Kamrowski, American Surrealist Painter One of the hallmarks of Surrealism is the encounter, often by chance, with a key person, place, or object through a trajectory no one could have predicted. Penelope Rosemont draws on a lifetime of such experiences in her collection of essays, Surrealism: Inside the Magnetic Fields. From her youthful forays as a radical student in Chicago to her pivotal meeting with André Breton and the Surrealist Movement in Paris, Rosemont—one of the movement's leading exponents in the United States—documents her unending search for the Marvelous. Surrealism finds her rubbing shoulders with some of the movement's most important visual artists, such as Man Ray, Leonora Carrington, Mimi Parent, and Toyen; discussing politics and spectacle with Guy Debord; and crossing paths with poet Ted Joans and outsider artist Lee Godie. The book also includes scholarly investigations into American radicals like George Francis Train and Mary MacLane, the myth of the Golden Goose, and Dada precursor Emmy Hennings. Praise for Surrealism: "Rosemont is not delivering dry abstractions, as so many academic 'specialists,' but telling us about warm and exciting human encounters, illuminated by the subversive spirit of Permanent Enchantment."—Michael Löwy, author of Ecosocialism "This compelling and well-drawn book lets us see the adventures, inspirations, and relationships that have shaped Penelope Rosemont's art and rebellion."—David Roediger, author of Class, Race, and Marxism "The broad sampling of essays included here offer a compelling entry point for curious readers and an essential compendium for surrealist practitioners."—Abigail Susik, professor of art history, Willamette University "Rosemont's welcome memoir has a double virtue, as testament to the enduring radiance of Surrealism, and as a memento to the Sixties, revealing a sweetly beating wonderment at the heart of that absurdly maligned decade."—Jed Rasula, author of Destruction Was My Beatrice: Dada and the Unmaking of the Twentieth Century "Artist, historian, and social activist, Rosemont writes from the inside out. Like a rare, hybrid flower growing out of the earth, she complicates, expands, and opens the strange and beautiful meadow where Surrealism continues to live and thrive.”—Sabrina Orah Mark, author of Wild Milk "In this wide-ranging collection of essays, Penelope Rosemont, long a keeper of surrealism's revolutionary flame, shows how a penetrating look into the past can liberate the future."—Andrew Joron, author of The Absolute Letter "Rosemont recreates the feverish antics and immediate reception her close-knit, sleep-deprived, beat-attired squad find in the established, moray-breaking Parisian and international surrealists. Revolution is here, between the covers."—Gillian Conoley, author of A Little More Red Sun on the Human: New and Selected Poems and translator of Thousand Times Broken: Three Books by Henri Michaux
From the Valley of Bronze Camels by Jane Miller Pdf
Jane Miller loves poetry. In these provocative and deeply insightful essays, she unpacks the work of giants like Adrienne Rich, Paul Celan, Marina Tsvetaeva, Osip Mandelstam, and Federico García Lorca alongside painters such as Caravaggio and Paul Klee, as well as ancient Chinese music and techniques of the contemporary poem. Miller explores the use of the question mark in the history of poetry and its function as a revelation of poetic voice. She considers the positive and negative aspects of surrealism on the contemporary poem, its anti-feminist origins in France, its contemporary usage, and the benefits of super-real images. Miller examines how identity politics might affect the imagination. She describes ancient Chinese musical instruments to show how their sounds resonate off/in American poems and on the aural integrity of the lyric poem. She interrogates the political implications of language and the degeneration and regeneration of words. Finally, in an essay about what she dares not say about poetry, she comes out against forms of surrealism, narrative, jargon, rhetoric, irony, and appropriation. This masterful work can be read as advice to a young writer, but it also invites us into the mind of a writer who has developed her craft through the course of a lifetime of writing, reading, and exploring the world, showing not only the ideas that influenced her—feminist, lesbian, and international works—but also how Miller has, in turn, influenced ideas.
Crisis by Sascha Bru,Kate Kangaslahti,Li Lin,Iveta Slavkova,David Ayers Pdf
Notions of crisis have long charged the study of the European avant-garde and modernism, reflecting the often turbulent nature of their development. Throughout their history, the avant-garde and modernists have both confronted and instigated crises, be they economic or political, aesthetic or philosophical, collective or individual, local or global, short or perennial. The seventh volume in the series European Avant-Garde and Modernism Studies addresses the myriad ways in which the avant-garde and modernism have responded and related to crisis from the late nineteenth to the twenty-first century. How have Europe’s avant-garde and modernist movements given aesthetic shape to their crisis-laden trajectory? Given the many different watershed moments the avant-garde and modernism have faced over the centuries, what common threads link the critical points of their development? Alternatively, what kinds of crises have their experimental practices and critical modes yielded? The volume assembles case studies reflecting upon these questions and more from across all areas of avant-garde and modernist activity, including visual art, literature, music, architecture, photography, theatre, performance, curatorial practice, fashion and design.
Poetry. "When I read Spencer Madsen's poetry, I not only feel awe because he's so good, one of the best, but I also think about how everything in the world is happening at the same time, and how the world we get to know is so heavily edited down. It's the hugest, weirdest feeling. I wish Spencer Madsen could be everywhere at once. I really love YOU CAN MAKE ANYTHING SAD."—Dennis Cooper
Poetry by one of the most powerful female figures in twentieth-century surrealism, now collected in English for the very first time. Alice Paalen Rahon was a shapeshifter, a surrealist poet turned painter who was born French and died a naturalized citizen of Mexico. Her first husband was the artist Wolfgang Paalen, among her lovers were Pablo Picasso and the poet Valentine Penrose, and over the years her circle of friends included Frida Kahlo and Diego Rivera, Joan Miró, Paul Éluard, Man Ray, and Anaïs Nin. This bilingual edition of Rahon’s poems confirms the achievement of this little-known but visionary writer who defies categorization. Her spellbinding poems, inspired by prehistoric art, lost love, and travels around the globe, weave together dream, fantasy, and madness. For the first time in any language, this book gathers the three collections of poetry Rahon published in her lifetime, along with uncollected and unpublished poems and an album of portraits, manuscript pages, and artworks.
A Life of Picasso IV: The Minotaur Years by John Richardson Pdf
The beautifully illustrated fourth volume of Picasso’s life—set in France and Spain during the Spanish Civil War and World War II—covers friendships with the surrealist painters; artistic inspiration around Guernica and the Minotaur; and his muses Marie-Thérèse, Dora Maar, and Françoise Gilot; and much more. Including 271 stunning illustrations and drawing on original and exhaustive research from interviews and never-before-seen material in the Picasso family archives, this book opens with a visit by the Hungarian-French photographer Brassaï to Picasso’s chateau in Normandy, Boisgeloup, where he would take his iconic photographs of the celebrated plaster busts of Marie-Thérèse, Picasso’s mistress and muse. Picasso was contributing to André Breton’s Minotaur magazine and he was also spending more time with the likes of Man Ray, Salvador Dalí, Lee Miller, and the poet Paul Éluard, in Paris as well as in the south of France. It was during this time that Picasso began writing surrealist poetry and became obsessed with the image of himself as the mythic Minotaur—head of a bull, body of a man—and created his most famous etching, Minotauromachie. Richardson shows us the artist is as prolific as ever, painting Marie-Thérèse, but also painting the surrealist photographer Dora Maar who has become a muse, a collaborator and more. In April 1937, the bombing of the town of Guernica during the Spanish Civil War inspires Picasso’s vast masterwork of the same name, which he paints in just a few weeks for the Spanish Pavilion at the Paris World’s Fair. When the Nazis occupy Paris in 1940, Picasso chooses to remain in the city despite the threat that his art would be confiscated. In 1943, Picasso meets Françoise Gilot who would replace Dora, and as Richardson writes, “rejuvenate his psyche, reawaken his imagery and inspire a brilliant sequence of paintings.” As always, Richardson tells Picasso’s story through his work during this period, analyzing how it shows what the artist was feeling and thinking. His fascinating and accessible narrative immerses us in one of the most exciting moments in twentieth century cultural history, and brings to a close the definitive and critically acclaimed account of one of the world’s most celebrated artists.
Surrealist Women displays the range and significance of women's contributions to surrealism. Penelope Rosemont, affiliated with the Paris Surrealist Group in the 1960s and now a Chicago poet and painter, has assembled nearly three hundred texts by ninety-six women from twenty-eight countries. She opens the book with a succinct summary of surrealism's basic aims and principles, followed by a discussion of the place of gender in the origins of the movement.The texts are organised into historical periods ranging from the 1920s to the present, with introductions describing trends in the movement for each period; and each surrealist's work is prefaced by a brief biographical statement. Authors include El Allailly, Bruna, Cunard, Carrington, Cesaire, Gauthier, Giovanna, van Hirtum, Kahlo, Levy, Mansour, Mitrani, Pailthorpe, Joyce Peters, Rahon, Svankmajerova, Taub, Zangana
How to be Idle is Tom Hodgkinson's entertaining guide to reclaiming your right to be idle. As Oscar Wilde said, doing nothing is hard work. The Protestant work ethic has most of us in its thrall, and the idlers of this world have the odds stacked against them. But here, at last, is a book that can help. From Tom Hodgkinson, editor of the Idler, comes How to be Idle, an antidote to the work-obsessed culture which puts so many obstacles between ourselves and our dreams. Hodgkinson presents us with a laid-back argument for a new contract between routine and chaos, an argument for experiencing life to the full and living in the moment. Ranging across a host of issues that may affect the modern idler - sleep, the world of work, pleasure and hedonism, relationships, bohemian living, revolution - he draws on the writings of such well-known apologists for idleness as Dr Johnson, Oscar Wilde, Robert Louis Stevenson and Nietzsche. His message is clear: take control of your life and reclaim your right to be idle. 'Well written, funny and with a scholarly knowledge of the literature of laziness, it is both a book to be enjoyed at leisure and to change lives' Sunday Times 'In his life and in this book the author is 100 per cent on the side of the angels' Literary Review 'The book is so stuffed with wisdom and so stuffed with good jokes that I raced through it like a speed freak' Independent on Sunday Tom Hodgkinson is the founder and editor of The Idler and the author of How to be Idle, How to be Free, The Idle Parent and Brave Old World. In spring 2011 he founded The Idler Academy in London, a bookshop, coffeehouse and cultural centre which hosts literary events and offers courses in academic and practical subjects - from Latin to embroidery. Its motto is 'Liberty through Education'. Find out more at www.idler.co.uk.
Dalí, Surrealism and Cinema by Elliott H. King Pdf
Salvador Dali is one of the most widely recognised and most controversial artists of the twentieth century. He was also an avant-garde filmmaker -- collaborating with such giants as Luis Bunuel, Walt Disney and Alfred Hitchcock -- though the impetus and endurance of his fascination with film has rarely been given the attention it merits. King surveys the full range of Dali's eccentric activities with(in) the cinema. Influenced by the Marx Brothers, Buster Keaton and Stanley Kubrick, Dali used the cinema to bring the 'dream subjects' of his paintings to life, providing the groundwork for revolutionary forays into television, video, photography and holography. Dali's writings continue to be relevant to discourses surrounding film and surrealism, and his embrace of academic technique partnered with contemporary technology and pop culture is a paradox still relevant today. From a movie-going experience that would incorporate all five senses to the tale of a woman's hapless love affair with a wheelbarrow, Dali's hallucinatory vision never fails to leave its indelible mark.
