{"title":"“Talk About Complications!”: Surrealism’s Trouble with Women","authors":"Raymond Spiteri","doi":"10.1353/ijs.2023.a908034","DOIUrl":"https://doi.org/10.1353/ijs.2023.a908034","url":null,"abstract":"Abstract: This article approaches the ‘problem’ of woman in Surrealism indirectly by way of a consideration of same-sex desire and sexual difference. For all its celebration of ‘woman’, the surrealist movement initially struggled to accommodate the experience of the feminine, which functioned primarily as a figure of difference. Indeed, the heightened affirmation of sexual difference served a dual function: it not only helped negotiate the threat of same-sex desire within the homosocial context of the surrealist group, but it also reinforced the insistent imagining of the female body as a series of fetishistic part-objects. This would have important implications on the status of women artists and writers, serving to marginalize female agency and experience. The implications of this hypothesis are explored through an analysis of the treatment of desire in the work of Max Ernst and Claude Cahun.","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134962827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Time Reclaimed: Old “Femmes-enfants”","authors":"Effie Rentzou","doi":"10.1353/ijs.2023.a908033","DOIUrl":"https://doi.org/10.1353/ijs.2023.a908033","url":null,"abstract":"Abstract: In surrealism the “femme-enfant” was a persistent model for female subjectivity both as a representational construction in literature and art, and as a position embodied by women artists themselves. This article discusses the work of three surrealist writers, Gisèle Prassinos, Leonora Carrington, and Joyce Mansour, each of them labeled as a “femme-enfant” within surrealist cercles. All of them, however, channeled their subjectivity through the personae of old women while they were still very young, in an odd juxtaposition between their perceived, and restrictive, image as a woman-child and their projected future of old age. Opposed to the “femme-enfant” stuck in an ahistorical perpetual present, the old women in the texts discussed usher in a dynamic timeline and permit the authors to exercise control over their own subjectivity and voice, while they short-circuit present, past, and future. By imagining themselves as old, these women surrealists take charge of a process that cannot be controlled—aging, the passing of time—and they reclaim time while they reclaim their own agency.","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134993396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jacqueline, My Friend","authors":"Mary Ann Caws","doi":"10.1353/ijs.2023.a908038","DOIUrl":"https://doi.org/10.1353/ijs.2023.a908038","url":null,"abstract":"Jacqueline, My Friend Mary Ann Caws (bio) How I loved Jacqueline Lamba! When I first went to see this very beautiful and affectionate painter, I learned immediately that nothing about Jacqueline was general, it was all specific. She said instantly: “Don’t call me an artist, please: Je suis peintre. / I am a painter.” As long as I knew her, over many, many years, she was impassioned, involved, and never ever boring. That was, in fact, the one thing she was unable to bear: whatever and whomever bored her. I had first known Jacqueline when Yves Bonnefoy, a great and ennobling friend, had asked me to meet and interview her. So I went, with my first husband at the wheel (I am a narcoleptic, and sleep at the wheel of any car). He was a British philosopher with whom I lived in our cabanon, a very (VERY) rustic cabin in Mormoiron in the Vaucluse, in Provence. (We purchased it because I wanted, perhaps we wanted, to live near René Char on whom I was writing and whom I was translating.) The scorpions and snails and dor-mice loved our moving in: they certainly felt no obligation to move out. And never did. So, we went to see Jacqueline, and I was instantly and always delighted to be her friend. I managed to see her every time I was in France, in Paris for sabbaticals or summers, or in the cabanon we loved—having, alas, had to cut down the [End Page 93] tree in the kitchen and having hung all our kitchen implements on a tractor wheel above the table (around which we loved assembling our friends of various languages and countries and genders). We had to avoid the mice (well, usually not rats) who loved scampering around the furniture, itself riddled with holes for animal dwellings. Jacqueline would come to see us, really for the children as well as their parents, holding them each by a hand when they would all walk up our hill. She was as loving a friend as possible, and since they went to French schools the language was not an issue. The children all had no problem with our not having such a thing as indoor toilets, since we had a field usable for all kinds of actions, not just picking the cherries from our trees, but more mundane events. Often, with Jacqueline, they would stroll out together up the street (not really much of a street) or over the field of grass and snails. They would examine the olive trees, and together lament the theft of our major olive tree downstairs—for we had an upstairs, up the stone steps, where we slept and sometimes had our lunch and supper, and a downstairs in the kitchen, as well as the dormice, and a table outside. Jacqueline loved picnics, hated restaurants because you had to wait, and really liked relaxing by any wayside with us. We would wait for her to arrive in L’Isle-sur-Sorgue on the bus from the village over the hills, Simiane-la-Rotonde, where she lived and painted. I would often see Jacqueline in Paris, up the five flights of stairs she would glide up in her long skirts—she had taken them up in Mexico, where Frida Ka","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134993674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Surrealism Was a Muse to Me","authors":"Penny Slinger","doi":"10.1353/ijs.2023.a908037","DOIUrl":"https://doi.org/10.1353/ijs.2023.a908037","url":null,"abstract":"Surrealism Was a Muse to Me Penny Slinger The surrealist view of woman was primarily as the muse, essential in bringing inspiration to the male surrealist artists. That is why, early in my artistic career, I decided to be my own muse. I did not wish to step down from the role of muse. I was happy to continue to inspire others. But more than that, I wanted to be my own inspiration and see the work I created viewed on par with the work of male artists. I saw nothing in the work I made that rendered it less vital, less original, less creative, less relevant, or less well executed than anything produced by the male of the species. At first, I did not want my work to be identified as being made by a female, so I would sign my work just “Slinger.” As I perceived the boys to be my competition as a student, I wanted my work to be compared to theirs rather than to that of the other female students. As time went on I found my voice as an artist to be truly married to the fact that I was a woman. Dealing with issues that affected me as a woman artist and as a woman in society in general was important for my work. Therefore I began to claim my right to a prominent position in the art world in relation to my rights as a woman. I felt that my sex was not a detriment but an asset, as I could traverse virgin territory and establish something new [End Page 83] rather than travel the well-beaten path. I have always seen myself as an innovator, and being a woman artist of stature as being an innovation in itself. Surrealism is very much a movement and a way of thinking that unites the conscious and the unconscious realms. Put another way, you could say it unites the male and female aspects of the self. As such, the boxes that separate the genders should ideally be smashed by the surrealist ethic and the full androgyny of self be allowed free reign. Anyone who is unable to grasp that concept as central to the surrealist sensibility has no right to call themselves a surrealist. Surrealism is about probing the inner worlds— the sur (above and beyond) realism. In the realm of the psyche the archetypes play. They are not limited to male or female identities. They are all of it, and animal, bird, and other creatures too. Max Ernst certainly portrayed that in his creation of the bird Loplop as his alter ego. So, where the surrealists in the heyday of their movement may have missed the point a little as to the real inclusivity and dissolving of barriers—between worlds and between sexes—that the surrealist perspective represents, we can continue the incentive beyond its historical inception. We can see Surrealism as a timeless approach to art and life, which can guide us to keep opening new vistas in our psyches, add new colors to our palettes, new depths to our investigations. When I found such a mine of inspiration in the collage books of Max Ernst, it inspired me, not to create more of the same but to use the tools of Surrealism to probe my own inner worlds and to expres","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134993104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Chicago Surrealists Welcome Mary Low!","authors":"Penelope Rosemont","doi":"10.1353/ijs.2023.a908039","DOIUrl":"https://doi.org/10.1353/ijs.2023.a908039","url":null,"abstract":"Chicago Surrealists Welcome Mary Low! Penelope Rosemont (bio) Mary Low and I met at O’Hare airport, an extremely busy, crowded place. Back in those days of old, in 1982, we would go and meet our friends as they disembarked. If we didn’t know them well, we would hold up a sign: “Surrealist Greetings!” or “Chicago Surrealist group!” or “Welcome Surrealists!” So, on the phone I said to Mary, “We’ll hold up a sign, “Chicago Surrealists Welcome Mary Low!” But Mary replied, “You won’t need the sign, you’ll know me!” I was puzzled. The photo we had of her was from the 1930s. We brought the sign anyway and stood in a packed crowd, perhaps one hundred people, some waving signs also. Most read “Caldwell Family Reunion!” or “Elks Convention,” or “St Michael’s Picnic,” etc. We examined closely the passengers wandering by. But Mary, we didn’t see Mary . . . Then, a tall, stately woman passed through the crowd. I said, “That has to be Mary!” She was dressed in white. White fringed sleeves on a white leather jacket, white slacks with silver studs, white fancy Western cowboy hat . . . fancy, white cowboy boots with high heels. . . . Her hair was white, this was a stunning woman at sixty-eight. I was charmed at first sight. But how did this happen? City Lights published Red Spanish Notebook in 1979—essays by Mary Low and Juan Breá on the [End Page 98] Spanish resistance against Franco fascism. Our Chicago surrealist group had found an old copy of the book and urged Nancy Joyce Peters, surrealist stalwart at City Lights and poet Lawrence Ferlinghetti at City Lights to reprint it. It featured an introduction by the famous West Indian writer C. L. R. James, author of the Black Jacobins and Mariners, Renegades and Castaways, and a review by George Orwell. Click for larger view View full resolution Figure 1. Penelope Rosemont, Mary Low, and Paul Garon, Chicago, 1980s. Photo by Franklin Rosemont. We made efforts to locate Low to ask her permission, but no one knew where she was or even if she was still alive. So, the book was printed. Not long after, City Lights received a phone call, “You reprinted my book! I didn’t even know about it.” The kind of call a publisher does not want to get ever. But Low was not angry, she was pleased. She was living in Miami, working as a teacher; she had remarried in 1944 and was known as Mary Machado. Nancy gave us her phone number and address and we began a correspondence and friendship that only fellow surrealists can appreciate. Low surprised me early at our first meeting when she said, “You are beautiful, my dear—and you have a great [End Page 99] nose!” She went on, “I just can’t stand those stupid little Hollywood noses popular today. You can’t take a woman with a nose like that seriously.” Low herself had a well-proportioned nose. During her first visit, we lunched outdoors at Heartland Cafe, a sprawling place where we had surrealist exhibitions. The cafe was founded by Michael James and Katie Hogan to be a community center with ","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"138 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134993394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Eva Švankmajerová: From the Interior","authors":"Krzysztof Fijalkowski, Rachel Fijalkowska","doi":"10.1353/ijs.2023.a908036","DOIUrl":"https://doi.org/10.1353/ijs.2023.a908036","url":null,"abstract":"Abstract: The art and writings of Eva Švankmajerová are not widely known outside of her native Czechia, despite being exhibited and published internationally. Having joined the Group of Czech and Slovak Surrealists in 1970 along with her husband and collaborator Jan Švankmajer, she would become one of its leading members until her death in 2005. This essay, approached partly through a dialogue that includes an expressive, imaginative voice in acknowledgement of the Švankmajers’ working relationship, focuses on two interlinked themes relating to aspects of her paintings of the 1970s: the location of the female body among domestic environments or objects; and the exploration of gender roles and corporeal identities. These are articulated against contexts within Czechoslovak surrealism, as well as to those relating to domesticity, gender, and feminism in socialist Czechoslovakia during the postwar era.","PeriodicalId":482593,"journal":{"name":"International Journal of Surrealism","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134993675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}