Maybe it’s the answer but sleep
I feel is out of the question
As your skin crackles with electricity
Surging through the nerve endings
Generating a force field that shocks
When our skin and flesh intersect
I know you want to play once again
Those night games in earnest
My wanton snake eyed charmer
Dancing only to the best tunes
Sinuously moving to a rhythm
Hypnotically vicious as a wet dream
Compulsive as the masturbator’s motion
As compelling as a large scale disaster
We don’t dare pause to consider
That our impulsive night games
Are careering right out of control
Skidding towards the concrete barrier
Even if we did do you doubt
That we would press down hard
Accelerating loosening seatbelts
Elatedly bracing for the impact
Of the ultimate folie a deux
A drastic re-configuration of identity
But come there are so many more
Games we could play in the darkness
I see you staring back at me in the bar
We are strangers meeting for the first time
That illicit thrill a depth charge to the core
I know of a hotel around the corner
A fine and private place I’m assured
Once alone together I promise
To do you so good to do you so right
Make you experience the exquisite
Head fucking psycho-drama of attraction
Once again this time with renewed emotion
Believe me I am never more serious
Than when I am playing night games
Although sleep is one of the few shared activities common to all humanity, it is also the most private. What we experience during our sleeping hours is untranslatable during the daylight.
The way we sleep depends upon time and place, especially latitude. The view depicting in movies of our prehistoric ancestors huddled together for warmth and safety from predators in the communal cave as soon as the sun set is probably not far from the mark as the same basic pattern can be found, in a more sophisticated fashion, in Anglo-Saxon and Viking settlements, where all members of the clan would sleep on a raised parapet above a sunken, blazing fire in the Great Hall of a powerful chieftain, who would nevertheless sleep amongst his subjects. In the fortified keeps and castles of the later medieval period in Ireland and Britain elements of social stratification can be seen as now the presiding figures that controlled life within the castle have their own separate bedchambers.
Great changes in societal patterns were occurring in the city states of what is now Italy. A benevolent climate where the amounts of daylight and night-time are more equally distributed throughout the year led to lives less overwhelmed by the struggle for mere survival and the flourishing of the first recognizable modern cities. From these states came merchant princes and an artisan middle class involved in completely new professions. At night the streets were lit and families lived more spaciously in single family dwellings. As lives were less arduous it was no longer necessary to retire as early or to rise at dawn. It is a curious fact that the two presiding genius of the Renaissance, Michelangelo and Leonardo Da Vinci slept for less than four hours a night.
From this point onwards Western society was bent upon colonizing the night. With electricity the conquest was completed. Whereas candlelight and oil lamps seemed to re-enforce the nature of the surrounding night, electricity completely dispels darkness, replacing it with an artificial daytime. Soon the traditional conceptions of diurnal night and day will have no meaning, instead we have a twenty-four hour neuter-time that neither begins or ends. Technical acumen has made possible the manufacture of machines, robots and computers, whose main selling point is that they never tire, never sleep and never stop.
Increasingly prevalent in the work-driven and success haunted West is the idea that sleep is an enemy, only enjoyed by the idle and unambitious. Go getters only unwillingly submit to a hopefully dreamless sleep when absolutely required to preserve sanity, and even then for the shortest period possible. Upon waking the inexplicable images that the helpless dreamer witnessed are dispelled by the light of the working day and dismissed as irrelevant. Are we too far off a time when a sleep deprived scientist, every hour ridden by waking nightmares re-engineers and genetically alters an unborn child so that it will never sleep? And when that happens can we consider that person who, having never experienced nightly oblivion, that plunge into an endless ocean where unremitting self-consciousness is blissfully, if only temporarily relinquished, human at all?
In 1922 Rene Crevel told his friend and mentor Andre Breton about a visit he had made to a Spiritualist seance. It was the time of the mouvementflou, the increasingly nihilistic Dada had negated itself out of existence and Surrealism was yet to come into being. Breton was intrigued and arranged an event with his friends. The results were startling; and this was the beginning of the Period of the Sleeping Fits. Crevel and Robert Desnos were particularly susceptible to falling into the trance state and answering questions that was put to them by the group, sometimes with unnerving effect. Each day they would spend longer in a trance, Desnos even had the ability to write while asleep. Both Crevel and Desnos began to rapidly lose weight and Desnos became convinced that he was possessed by Rrose Selavy, Marcel Duchamp’s female alter ego, even though he had never met Duchamp. Events began to spiral out of control and the experiment with trance states was abandoned completely when Crevel led a group suicide attempt.
Desnos loved to sleep (most photographs show him asleep) and his poetry vividly evokes that universal yet nebulous state Below is his 1926 poem SleepSpaces, translation by Mary Ann Caws.
In the night there are naturally the seven marvels of the world and greatness and the tragic and enchantment.
Confusedly, forests mingle with legendary creatures hidden in the thickets.
You are there.
In the night there is the nightwalker’s step and the murderer’s and the policeman’s and the streetlight and the ragman’s lantern.
You are there.
In the night pass trains and ships and the mirage of countries where it is daylight. The last breaths of twilight and the first shivers of dawn.
You are there.
A tune on the piano, a cry.
A door slams,
And not just beings and things and material noises.
But still myself chasing myself or going on beyond.
You are there, immolated one, you for whom I wait.
Sometimes strange figures are born at the instant of sleep and disappear.
When I close my eyes, phosphorescent blooms appear and fade and are reborn like carnal fireworks.
Unknown countries I traverse with creatures for company.
You are there most probably, oh beautiful discreet spy.
And the palpable soul of the reaches.
And the perfumes of the sky and the stars and the cock’s crow from two thousand years ago and the peacock’s scream in the parks aflame and kisses.
Handshakes sinister in a sickly light and axles screeching on hypnotic roads.
You are most probably there, whom I do not know, whom on the contrary I know.
But who, present in my dreams, insist on being sensed there without appearing.
You who remain out of reach in reality and in dream.
You who belong to me by my will to possess you in illusion but whose face approaches mine if my eyes are closed to dream as well as to reality.
You in spite of an easy rhetoric where the waves die on the beaches, where the crow flies in ruined factories, where wood rots cracking under a leaden sky.
You who are at the depths of my dreams, arousing my mind full of metamorphoses and leaving me your glove when I kiss your hand.
In the night there are stars and the tenebral motion of the sea, rivers, forests, towns, grass, the lungs of millions and millions of being.
In the night there are the marvels of the world.
In the night there are no guardian angels but there is sleep.
In the night you are there.
In the day also.
In late 1929-early 1930 the poet, photographer, theoretician and co-founder of the Belgian Surrealist Group Paul Nougé created a series of 19 photographs that were collected and published as Subversion des Images in 1968. The series lives up to the title, subverting and questioning perception in the manner of his friend and fellow co-founder Rene Magritte, who is featured in several of the images.