Journal of Surrealism and the Americas (JSA)

Antonin Artaud was one of the first internationally recognized writers to introduce the indigenous Tarahumara (Rarámuri) of Northwest Mexico to the world. In a series of publications based on his experiences with the tribe in 1936, Artaud left a vast visual legacy that positioned the Tarahumara within a powerful regime of representation, one that framed them within a mixed landscape of exoticism, primitivism, and peyote-inspired mysticism. This paper focuses on these literary works and interrogates the veracity of Artaud’s experiences and observations among the “pure race.” Drawing on the ethnographic record of the twentieth century and anthropological field research, it is my intention to reveal Artaud’s ability to fabricate, exaggerate, and embellish “the truth” which he so desperately desired to understand.

Journal of Surrealism and the Americas, Cinema Issue (2016)

Robert Desnos’s and Man Ray’s 1928 film L'Etoile de mer has long been considered an exemplar of the surrealist love story, thematically similar to Salvador Dalí’s and Luis Buñuel’s Un Chien andalou (1929) but less overtly shocking. In comparison to the elaborate iconographical analyses of Chien, critiques of L'Etoile tend to describe its avant-garde cinematic style, to distinguish how it illustrates or deviates from Desnos’s scenario, or to provide summary analysis of some of its more obviously Freudian iconography. There have been fewer scholarly explorations of specific symbolism, yet the film exhibits many political-philosophical intertexts, one of which explicitly builds a bridge between the surrealist revolution and America’s core self-signifier, Liberty.