A Brief Survey of the Surrealist Novel

1928 Cover of Nadja-Andre Breton
1928 Cover of Nadja-Andre Breton

Surrealism had an immeasurable effect upon the 20th and 21st Century novel, witness how the term ‘surreal’ is lazily and inappropriately applied to a wide spectrum of works that contain only a slight element of the fantastic, yet only a handful of novels were written by the Surrealists themselves. Andre Breton, the Pope of Surrealism, was vehemently opposed to the novel as an art form, scorning it as the medium of vain, bourgeois careerists and expelled members for publishing novels on occasion. Regardless of the heresy involved several Surrealists and fellow travellers did produce novels and this is a brief survey of the Surrealist novel with a summation of influences and precedents. I cannot possibly claim that it exhaustive and I am happy to hear about possible omissions.  I have taken rather a broad view of what constitutes a novel and more focused view of the term Surrealist, hopefully without being dogmatic, however some limitation of scope needs to be applied otherwise the very word is rendered meaningless. In a further post I will discuss the Surrealist impact upon the novel.

Influences and Precedents

In spite of his disdain for the form Andre Breton heaped lavish praise upon the Gothic novel, in particularly Matthew Lewis’s The Monk. The libertine novels of De Sade can also be viewed as Gothic in a certain light.  Another favourite was Melmoth the Wanderer by Charles Maturin, which served as an important model for the quintessential proto-surrealist work, Les Chants de Maldoror by the Comte de Lautréamont. This unclassifiable book that hovers between a novel and extended prose poem would have such an impact upon the Surrealists that it is often called the Black Bible of the movement. Another major influence was the Alice books by Lewis Carroll, as it laid down the template of a compelling dream narrative. Closer in time to the Surrealists is Alfred Kubin’s  Die andere Seite (The Other Side), a vivid expressionistic nightmare set in the mysterious capital of the Dreamland.

Surrealist Novels

I am sure that Breton would argue that his 1928 text Nadja isn’t a novel, that it is part surrealist narration and part philosophical polemic, but it can be read as a novel of his brief relationship with the title character Nadja, after a chance encounter on a Parisian street. Containing some of his best known quotes including the closing line, “Beauty will be CONVULSIVE or will not be at all”, Nadja is essential reading for anyone with an interest in Surrealism.

Louis Aragon wrote an early invocation of the pleasures and vicissitudes of psycho-geography in Le Paysan de Paris (Parisian Peasant) and the painter Giorgio de Chirico published his strange and otherworldly novel Hebdomeros in 1929, that features many dislocations in time and space. Although both Georges Bataille and Rene Daumal were frequently at odds with official surrealism, though for differing reasons, they both produced novels that can considered part of the surrealist canon. Bataille’s pornographic Histoire de l’œil (The Story of the Eye) is a work of nightmarish eroticism while Daumal’s Le Mont Analogue. Roman d’aventures alpines, non euclidiennes et symboliquement authentiques (Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing) became a cult favourite in the 1960’s and was the inspiration of Alejandro Jodorowsky’s The Holy Mountain. The dissident Cuban surrealist Alejo Carpentier novel about the Haitian Revolution El reino de este mundo (The Kingdom of this World) greatly influence Latin American magic realism.

Herbert Read was the art critic  responsible for introducing Surrealism into Britain and his only novel, The Green Child is an odd but appealing Surrealist fable. Leonora Carrington’s The Hearing Trumpet is a whimsical delight about the 92 year old Marian Leatherby’s stay in a very strange old peoples home.  Ithell Colquhoun’s The Goose of Hermogenes is an occult romance with some truly bizarre imaginings. Much darker is the hallucinatory Der Mann im Jasmin (The Man of Jasmine) by Unica Zürn describing her mental breakdowns with disquieting exactitude. Lastly there is Dorothea Tanning’s debut novel Chasm, published in 2004, a powerful and poetic work of late, late surrealism.

 

The Surreal World: Haiti

Adoration a la Sainte Vierge-Hector Hyppolite-Collection of Andre Breton
Adoration a la Sainte Vierge-Hector Hyppolite-Collection of Andre Breton

Although the presidency of Donald Trump is in a certain sense a bizarrely surreal spectacle, the political aims of the actual Surrealists and the nascent nationalist movement that Trump embodies are polar extremes. Nothing highlights this better than Trump’s insulting and ignorant comments concerning ‘shithole countries’ of which he deems the much maligned island nation of Haiti to be a prime example.

Haiti, however, was a source of enduring fascination and inspiration for the Surrealists. As strident anti-colonialists (for Surrealism there never was or could ever be a case for colonialism, it was always an unalloyed evil that debases the colonised and corrupts the coloniser), Surrealists celebrated the Haitian revolution that resulted in the only successful slave revolt in history and the first black republic in the world. This momentous event and the subsequent defeat of invading French, British and Spanish forces by the Haitians expanded the central concept of the French Revolution of ‘Liberté, égalité, fraternité’ to include all men, regardless of colour. Unfortunately Haiti has never been forgiven for this piece of temerity.

Of course bound up with the perception of Haiti is Vodou, the syncretic religion that combines elements of West African spirit worship, Roman Catholicism and possibly traces of native Meso-American religion, and the Surrealists were certainly not immune to its spell. Although not technically a Surrealist, the American Lost Generation writer and occultist W.B Seabrook travelled in the same Parisian avant-garde circles (for the curious Man Ray’s series of photographs entitled The Fantasies of Mr Seabrook are still risque) and his sensational, though mainly sympathetic travelogue The Magic Island from 1929, the book that introduced the word zombie to the English language, was positively reviewed in Georges Bataille Documents magazine by the ethnographer Michel Leiris. Bataille himself would write about Vodou in L’Érotisme (Eroticisms) and Les Larmes d’Éros (The Tears ofEros),  as he saw Vodou as the prime modern example of a Dionysian religion.

In 1944 the Martinican poet Aime Cesaire (see Serpent Sun), who credited Surrealism with emancipating his consciousness, spent seven months in Haiti, which at the time was still the only black republic in the Caribbean. This period would inedibly mark Cesaire’s artistic and political thought.

In 1945 Andre Breton and Wilfredo Lam (see Welcome To The Jungle), as  guests of fellow Surrealist Pierre Mabille, the French cultural attache, attended a vodou ceremony where they saw the works of Hector Hyppolite (see Desire in a Different Climate), a third generation Vodou houngan. Breton also gave a series of three lectures that linked the Haitian revolution with Surrealism and that galvanised opposition to the current US backed dictator in power, who promptly fled the country when the insurgency gathered force.

One of the first works of magic realism is Alejo Carpentier’s El reino de este mundo (The Kingdom of This World) published in 1949 that details the events of the Haitian revolution and its immediate aftermath.

Finally a brief word on the avant-garde film-maker Maya Deren marvellous study of Vodou, Divine Horseman: The Living Gods of Haiti, which is available as a  book (excellently written) and a documentary film. Most of the classic studies are written in French and Deren’s 1953 book remains the gold standard in English.

Below are some of Hector Hyppolite’s paintings as well as two other Haiti artists that show Surrealist as well as traditional influences, Rignaud Benoit and Gabriel Alix.

Hector-Hyppolite-Birds-and-Flowers[1]
Hector Hyppolite-Bird and Flowers
Hector Hyppolite-Femme nue avec oiseaux
Hector Hyppolite-Erzulie
Hector Hyppolite-Erzulie
Rignaud Benoit-Wedding Procession
Rignaud Benoit-Wedding Procession
Rignaud Benoit-Ceremony
Rignaud Benoit-Ceremony
Gabriel Alix-The Black Madonna
Gabriel Alix-The Black Madonna
Gabriel Alix-Ceremony Baron Samedi
Gabriel Alix-Ceremony Baron Samedi

Axolotl

Yves Klein
Yves Klein

The connection between Surrealism and magic realism, the narrative genre that first developed in Latin America in the mid twentieth century before becoming popular the world over, has always been hotly disputed. The Argentine writer Jorge Luis Borges, one of the giants of magic realism, viewed Surrealism with a great measure of disdain, and other Latin American were suspicious of the European Surrealists exoticising tendencies. However one of the first magic realist novels,  El reino de este mundo (The Kingdom of this World), was written by Alejo Carpentier who was actively involved in the Surrealist Movement in the 1920’s. Mexico was to prove fertile soil for several leading emigre Surrealists, notably Wolfgang Paalen, Leonora Carrington, Benjamin Peret and Remedios Varos. The strongest link however was undoubtedly the other great Argentine writer of the Latin American Boom, Julio Cortazar.

Cortazar wrote a spirited defence of Surrealism in 1949, refuting the constant claims that Surrealism was dead, insisting that on the contrary that it was ‘Un cadaver viviente’ (a living corpse). His 1966 novel Rayuela (Hopscotch) is a landmark in Post-Modernism in its hyper-textuality (take a look at the table of instructions to see all the possible ways to read the novel), which clearly references Andre Breton’s Nadja and the artwork of Marcel Duchamp. Later in the sixties Cortazar would produce two outstanding collage books with almost infinite permutations. The greatest writer of the 21st Century, Roberto Bolano, acknowledged his debt to Cortazar, and indeed to the underground Surrealist current that he kept alive, in his writings and interviews.

Besides such Surrealist experimentation, Cortazar is one of the undoubted masters of the fantastic short story. Below is Axolotl, a Kafkaesque story of a man’s obsession with the Axolotl, the Mexican salamander, who with their Aztec faces, devour with their eyes in a cannibalism of gold.

Included as a bonus is The Veils song Axolotl. Not sure if they are familiar with the story, but it was featured on David Lynch’s Twin Peaks: The Return recently and that is enough objective chance for me.

Axolotl

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L’Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

I didn’t care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There’s nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish’s tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It’s that we don’t enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we’re hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it’s less if we stay quietly.

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls’ heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: “Save us, save us.” I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. “You eat them alive with your eyes, hey,” the guard said, laughing; he likely thought I was a little cracked. What he didn’t notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it’s only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he’s making up a story, he’s going to write all this about axolotls.

Julio Cortazar 1954

Translator Paul Blackburn