Sacrifice for Pleasure

Exquiste Corpse-Man Ray, Joan Miro, Yves Tanguy & Max Morise
Exquiste Corpse-Man Ray, Joan Miro, Yves Tanguy & Max Morise

There always comes the moment
When you receive the confirmation
Of what you half intuited all along
No more evasions or denials
The truth is written on the wall
Writ large and quite plain to see
You are entangled within the trap
Held fast now there is no escape
It was all a set up a complete illusion
A vast conspiracy centred on you
Always and forever you alone
How can you ever begin to fathom
The depths you are plunging into
You never even knew it was a game
Until I showed you the aces in the hole
And demanded payment or satisfaction
So many questions you wanted to ask
But crumpling beneath the realisation
Of all I had in store you remained silent
Submitted docilely to my desires
However perversely strange or subtle
All your striving had come to naught
Think of this as a complete education
Now maybe you will understand
What I would sacrifice for pleasure.

Vertumnus

Vertumnus-Guiseppe Arcimboldo
Vertumnus-Guiseppe Arcimboldo circa 1590-1591

Guiseppe Arcimboldo is a hazy peripheral figure in art history. Enjoying noble and royal patronage he was honoured during his lifetime before completely falling out of fashion during the 17th, 18th and 19th Centuries only to be rediscovered by the Surrealists in the 20th. Salvador Dali, Rene Magritte and Man Ray were all admirers and Arcimboldo’s visual puns and double meanings undoubtedly influenced Dali’s infamous paranoiac-critical method. Other art historians posited Arcimboldo as the most mannered of all the Mannerists. His composite portraits certainly show the period’s taste for enigmas and riddles taken far into the hinterlands of the grotesque and the whimsically bizarre.

Vertumnus is Arcimboldo’s most famous painting, a composite portrait of his patron, Holy Roman Emperor and King of Bohemia Rudolf II as Vertumnus, the Roman God of metamorphosis, the seasons, gardens and vegetable growth. The plants, flowers and fruits that form the portrait of Rudolf II are from every season and are taken to represent the perfect harmony and balance with nature that his reign would re-establish. Unfortunately events and history had other things in mind for the studious, occult inclined Rudolf II and his notably tolerant court of Prague, leading eventually to the calamity of the Thirty Year War between competing Catholic and Protestant states before engulfing the majority of European great powers.

Other notable composite portraits painted by Arcimboldo include the Four Seasons, the Four Elements and the witty The Librarian (below).

The Librarian- Guiseppe Arcimboldo 1566
The Librarian- Guiseppe Arcimboldo 1566

Be True

Man Ray-Observatory Time 1936
Man Ray-Observatory Time 1936

Coming down
Calm it, calming
Coming down
Calming, calm it.

-Talk to me

-I wish I could talk—
But easier said;
A few issues remain unresolved,
In fact permanently outstanding.

I have always been afflicted,
If Memory serves,
(Not me though,
Bitch is thoroughly self-serving
With her insidious insinuations,
Rosey sepia’d projections,
Doctored newreels,
Whispering re-writes,
Flat-out brazen taunting,
Wince inducing comparisons;
The future ain’t what it used to be
But was the past so very hot?)
By a stuttering reluctance
To showtell, that would be an act,
Stripping myself bare to tease,
Besides what if there is nothing
Beneath to reveal, could I stand
The disappointment turning
To anger and then inevitably,
As night turns to day, to hatred?
So I crouched my sentences
In an invented, inverted argot
Of my own twisted devising,
A cunning linguistic cant
Impenetrable and dense
Filled with allusions, elisions,
Strewn with the slang and jargon
Of restless haunted journeys;
The most I could hope for
Was an odd sensation of frisson,
The occasional moment of fusion,
Before the dissolution of an imagined unity;
Fracturing, splintering, fragmenting,
Sending me back into my private
Realm where I can babble away,
In my nonesuch nonsense language,
Or just remain silent if I wished,
(and therefore, be true?)

Zaum de dum dada
Voynich Seraphinianus

The Passionate Philosopher

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Man Ray-Hommage to D.A.F De Sade
Once the grave has been filled in it shall be sown over with acorns so that afterwards the ground of the said grave having been replanted and the thicket being overgrown as it was before, the traces of my tomb will disappear from the  surface of the earth, as I flatter myself that my memory will be effaced from the minds of men, except none the less from those of the small number of people who have been pleased to love me up to the last moment, and of whom I carry into the grave a most tender recollection.

Marquis De Sade-Last Will and Testament

Regardless of your opinion of the Divine Marquis, it has to be admitted that he got it spectacularly wrong in his prediction that his memory would be effaced from the minds of men. Although he certainly didn’t invent the sexual pathology that bears his name, he does hold the world trademark rights. Rarely has a writer, and a writer so rarely read, achieved such lasting notoriety far beyond the narrow confines of literature and philosophy. Sadism is an important concept in psychology, jurisprudence and is a boon to journalists, not to mention has given rise to an increasingly visible sub-culture, of which Fifty Shades of Grey is the most prominent and commercially succesful.

The pioneering sexologist Krafft-Ebing introduced the term Sadism in 1890 based on the content of his works. In many ways De Sade anticipated both Krafft-Ebing and Sigmund Freud by placing sexual desire and sexuality as the prime, motivating factor in human behaviour, and furthermore  categorising all the possible aberrations inherent in humanity.  It was another German psychiatrist Ewan Bloch who first published The 120 Days of Sodom, De Sade’s most extreme and surely the darkest book ever to be written, in 1904, further spurring interest in his work.

Although it was the psychiatrists who brought De Sade back to public attention in the 20th century, it was the poets who venerated him as the ultimate rebel . Apollinaire proclaimed him ‘the freest spirit to have ever lived’, and in the First Manifesto of Surrealism Andre Breton noted that ‘De Sade is surrealist in sadism.’ Georges Bataille entire oeuvre is a marriage of Sade and Nietzsche. Barthes and Foucault wrote extensively (and infuriatingly) about a figure they saw as an important post-modern predecessor.

Outside of France, Henry Miller was an early champion and a number of Beats either translated his work or produced Sadean erotica for the Olympia Press. In recent years biographies have proliferated (with good reason, De Sade’s life reads better than most novels, no matter how imaginative) and Penguin Classics just issued a new translation of The 120 Days of Sodom, the original manuscript of which was recently sold for 7 million euro at auction.

The Marquis or characters from his novels has made many a cameo in movies as well. In L’Age D’or by Luis Bunuel the coda contains the blasphemous suggestion that Jesus Christ was one of the libertines of the Chateau de Silling. Bunuel would later feature a vignette of De Sade in La Voie Lactee. A sardonic De Sade is the main character of Peter Weiss’s Brechtian film Marat/Sade, while more recently  the Philip Kaufman directed Quills  re-imagines the Marquis’s time in Charenton in gothic horror fashion. And one shouldn’t forget Pasolini’s highly controversial Salo or his influence upon the pornographic and sexploitation genres, especially Jesus De Franco.

Two centuries after his death it is safe to say that De Sade isn’t going away any time soon. Whether he is viewed as the destroyer of traditional values or the apostle of radical liberty, his vision of a total, impossible freedom will continue to haunt the imagination.

Citizen Sade

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Imaginary Portrait of D.A.F Sade-Man Ray 1936

In 1789 the Marquis De Sade was one of eight prisoners held in the state prison of Bastille. For a number of years he had been detained under lettres de cachet, a system were the King could imprison a subject without trial and without the opportunity of appeal. Lettres de cachet were one of the most hated features of the ancien regime, as it was open to a wide variety of abuses, notably the possible life-long detainment of embarrassing family members by wealthy and noble petitioners.

On the morning of July 2, the Marquis was in a highly excitable state and nervously paced the confines of his cell. His wife had told him about the chaos on the streets of Paris. The Marquis had noticed the stepping up of military preparations within the fortress. At noon his warden came to tell the Marquis that his daily walk around the prison grounds was cancelled for today, by the order of the commandant. Outraged by the loss of this privilege, the Marquis grabbed a long metal funnel, that was usually used to empty his chamber pot into the moat below, but also worked as an impromptu megaphone, and began to harangue the crowds below that the guards were slitting the prisoners throats and called upon the assembled mob to storm the fortress. After being subdued with great difficultly by a number of guards the Marquis was transferred from the Bastille to the mental asylum of Charenton.

Just 12 days later the Bastille was indeed stormed by the revolutionaries and the weapons  and ammunition’s cache were seized. As a symbol of Royal authority its fall was especially significant. The French Revolution had begun in earnest and the world would never be the same again.  One of the first things the new government did was to abolish the lettres de cachet and so on April the 2nd 1790 the Marquis Donatien Aphonse Francois De Sade left Charenton a free man for the first time in over a decade: and with this release was born Citizen Sade, revolutionary and man of letters.

The above imaginary portrait by Man Ray refers to this central event in De Sade’s life. De Sade is the imprisoned man whose entire countenance is made out of prison bricks who dreams of an absolute and terrifying freedom, looking on at the conflagration of the hated citadel of oppression. The text at the bottom of the painting is a quote from the De Sade’s last will and testament.