I touch your skin with a hope of palpating your heart To cause an excitation within your mind that travels Down and around towards the tenderest target zones Leading to an exultation that abolishes all barriers Just for a moment a confusion reigns as to where I stop And when do you start to begin once more again
Ever constricting circles nearing the vanishing still point The ever eluding aim the shimmering illusionary goal Of my hesitant groping then more assured stroking As you strain to reach those regions unknown to me Still I long for and hasten your complete surrender Emptied and spent experience blank devasted serenity
I touch your skin unsure whether this repetition is a curse Or some form of blessing preceding a final absolution
Stop right there I have heard enough I don’t care for the menu Time to move on wasted enough already
And or but Into the fog Maybe the smoke If it is the conflagration after all Either or neither Nether ever never Wood coal pour some oil Cant see the forest for the trees
I saw you for the first time again You seemed different somehow Though I had to admit That you looked so good I just had to touch myself Forgetting that your kisses Always left their mark Bruising and wounding Ah well what’s sex without pain Love always requires some seasoning
Will you ever…. You make everything sound so dirty Though you will probably take that As some form of obscure compliment After all you wrote a pornographic reprise Of Aquinas’s Summa But I’ve come here to bury you Not to praise Are you listening Do you catch…
Come now cough ante pony up No thing like a free Take a look at the fork We are all exposed In some form of fashion What a season Hell’s got nothing Here is the variety Nauseating horrific exhilarating No time for the honorific Down here while I describe With disgust my various Beautiful disguises
One of the acknowledged precursors of Surrealism, the work of French caricaturist J.J Grandville was featured in Documents magazine and is discussed at length in Walter Benjamin’s vast and fragmentary study of the urban redevelopment of Paris by Baron Haussmann, The Arcades Project (Passagen-Werk). He roseto fame in 1828 with Les Métamorphoses du jour, a book with seventy illustrations of animal heads transposed upon human bodies. However the book that really grabbed the Surrealists attention is Un Autre Monde (Another World), a strange and outlandish satire whose principal target would appear to be the ideas of the Utopian Socialist Charles Fourier.
His influence can be seen in another Surrealist favourite, John Tenniel, the political cartoonist for Punch magazine who famously illustrated the Alice books.
Below are a selection of illustrations from Un Autre Monde and other works.
The entire text of the spell dedicated to Roger Blin (recto and verso) reads; ‘All those who have gotten together to keep me from taking HEROIN all those who have touched Anne Manson because of that Sunday May 1939 I will have them pierced alive in a Paris square and I will have them perforated and their intestines burned. I am in a Mental Asylum but this dream of a Madness will be enacted and enacted by ME-Antonin Artaud.’
In 1937 the French writer, actor and dramatist Antonin Artaud landed in Cobh, Ireland with a letter of introduction from the French Embassy. Without that letter the Irish officials would have denied Artaud admittance. From Cobh he travelled to Galway where he holed up in a hotel room he couldn’t pay for. The purpose of this strange odyssey was to return a walking stick he had acquired which he believed was the staff of St Patrick, as well as being previously owed by both Jesus Christ and Lucifer. After a brief stint in Dublin’s Mountjoy Prison Artaud was deported as a ‘destitute and undesirable alien’. On the return ship voyage he attacked two crew members and had to be restrained and put in a straitjacket.
The previous decade Artaud had been one of the leading lights of the first phrase of Surrealism, writing addresses to the Pope, Chancellors of the European Universities, the Dalai Lama and the Buddhist Schools. In January 1925 Andre Breton announced that Artaud was assuming direction of the Bureau of Surrealist Enquiries, cryptically commenting that ‘The Central Bureau, more alive than ever, is henceforth behind closed doors, but the world must know that it exists.’ However after the bitter criticisms Breton levelled against Artaud (along with many, many others) in the Second ManifestoArtaud left the movement, aligning himself somewhat with the renegade Surrealists who published in Georges Bataille’s Documents.
The return from Ireland brought about for Artaud a period of confinement in different asylums which ended only with his death in 1948 from an overdose of choral hydrate. 1938 saw the publication of his most famous work The Theatre and Its Double where he outlined his vision for the Theatre of Cruelty but he wrote little again until 1946, instead concentrating on writing up spells, casting horoscopes and drawing disturbing pictures.
But then Artaud would have doubtless have approved of Mick Jagger’s character Turner’s paraphrase of the central tenets of the Theatre of Cruelty in the 1970 movie Performance, ‘The only performance that makes it, that makes it all the way, is the one that achieves madness. Am I right?’ Judging by those lights Artaud made it all the way.
In 1931 the Armenian born (though he often told people he was Russian, his age also varied upon his mood) American painter Arshile Gorky saw Giorgio De Chirico’s 1914 painting The Fateful Temple. De Chirico’s painting featuring a portrait of his mother next to a head with a dissected brain which resonated with Gorky, who was working at the time on a mother and child portrait, and over the next three years he would produce two paintings and over eighty drawings in his variant series of The Fateful Temple; Nighttime, Enigma and Nostalgia.
Gorky and his mother had fled the genocide of Armenians instigated by the Ottoman Empire to Russia, where she died of starvation in 1919. He subsequently escaped to America and after experimenting with different styles embraced Surrealism in the 1940’s. His increasingly abstract paintings were a major influence on the Abstract Expressionists. In 1946 his studio barn burnt to the ground, he was diagnosed with cancer and his wife had an affair with the Chilean Surrealist painter Roberto Matta. In 1948 Gorky was involved in a car crash that broke his neck and left his painting arm temporarily paralysed. His wife left with the children and Gorky hanged himself at his Connecticut home at the age of 44 (or 42 or 46).