Journal of Surrealism and the Americas (JSA)
The Journal of Surrealism and the Americas focuses on the subject of modern European and American intellectuals’ obsession with the “New World.” This obsession—the very heart of Surrealism—extended not only to North American sites, but also to Latin America, the Caribbean, and to the numerous indigenous cultures located there. The journal invites essays that examine aspects of the actual and fantasized travel of these European and American intellectuals throughout the Americas, and their creative response to indigenous art and culture, including their anthropological and collecting activities, and their interpretations of the various geographic, political, and cultural landscapes of the Americas. We furthermore intend to investigate the interventions / negotiations / repudiations of European/American or other Surrealisms, by indigenous as well as other artists, writers and filmmakers. Original publication is available at: Journal of Surrealism and the Americas
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- Creators: Flores, David A.J. Murrieta
- Creators: Mansanti, Céline
General Topics Issue No. 2
Cover Image: Kati Horna, S.NOB #1 cover, 1962, ink on paper. Instituto de Investigaciones Filológicas, Mexico City, Mexico
Published: 2021-04-19
The Journal of Surrealism and the Americas: Vol. 11 No. 2 (2020) - Table of Contents
"Agustín Cárdenas: Sculpting the 'Memory of the Future' by Susan L. Power, p. 98-119.
"Bataillean Surrealism in Mexico: S.NOB Magazine (1962)" by David A.J. Murrieta Flores, p. 120-151.
"Mexican Carnival: Profanations in Luis Buñuel's Films Nazarín and Simón del desierto" by Lars Nowak, p. 152-177.
"Giorgio de Chirico, the First Surrealist in Mexico?" by Carlos Segoviano, p. 178-197?
"Exhibition Review: 'I Paint My Reality: Surrealism in Latin America' by Danielle M. Johnson, p. 198-204.
The first translations of Georges Bataille work available to a Mexican audience were made by writer Salvador Elizondo. After having read Les larmes d’eros (The Tears of Eros) in 1961, he founded S.NOB magazine one year later with the help of a wide group of collaborators that included Surrealist artists like Leonora Carrington and Kati Horna. S.NOB set out to oppose the closed-off nature of Mexican ‘official culture’, at the time dominated by State-promoted cultural nationalism. The magazine was part of a wider crisis of Mexican art and identity triggered in the 1950s and later known as la Ruptura (the Rupture). This new wave was concurrent with the growth of youth and mass popular culture, which found weapons of revolt against cultural nationalism in foreign cinema, music, and other emergent culture industries.
This essay will argue that S.NOB articulates an avant-garde, surrealist discourse that departs from the main current associated with André Breton. Instead, it closely follows the late writings of Georges Bataille via Elizondo’s translations and interpretations of his work. It will overview the theoretical aspects of Elizondo’s reading of Bataille in order to assess images and texts of the magazine, primarily Kati Horna’s photography, Alberto Gironella’s paintings (reproduced in print), and Tomás Segovia and Fernando Arrabal’s writings.
The objective is to show, through a sample analysis of the magazine’s discourse, the Bataillean construction of this particular collective’s avant-garde revolt. In it, the legacy of the surrealist movement in Mexico finds itself at a distance from the recurrent associations of Breton’s proclamations about the country, as well as the polemics derived from the "International Surrealist Exhibition" held in 1940 and the status of the “fantastic” in the history of Mexican art thereafter.
The Journal of Surrealism and the Americas: Vol. 1 No. 1 (2007) - Table of Contents
"Introduction to the Journal" by Samantha Kavky, Claudia Mesch, and Amy H. Winter, p. i-iii.
"Anti-Surrealist Cross-Word Puzzles: Breton, Dalí and Print in Wartime America" by Julia Pine, p. 1-29.
"William Carlos Williams’ A Novelette: an American Counterproposal to French Surrealism" by Céline Mansanti, p. 30-43
"The Vernacular as Vanguard: Alfred Barr, Salvador Dalí, and the U.S. Reception of Surrealism in the 1930s" by Sandra Zalman, p. 44-67
"Ben Cobb, Anarchy and Alchemy: The Films of Alejandro Jodorowsky" by David Church, p. 68-71
"Tamayo: A Modern Icon Reinterpreted" by Marta Julia Clapp, p. 72-76
"Robert Desnos, Surrealism, and 'Poetic Politics'" by Terri J. Gordon, p. 77-80
"Dali and the Specter of Cinema" by Frédérique Camille Joseph-Lowery, p. 81-84
"Julia Kelly's Art, Ethnography and the Life of Objects: Paris, c. 1925-1935" by Susan Power, p. 85-90
"The Janus-faced Legacy of Joseph Beuys" by Tatjana Myoko von Prittwitz, p. 91-93
"A.J. Meek, Clarence John Laughlin: Prophet Without Honor" by Jeffrey Ian Ross, p. 94-98
In June 1930, transition, an American literary magazine printed in France between 1927 and 1938 under the direction of Franco-American journalist and poet Eugene Jolas, published “The Simplicity of Disorder”— three chapters from William Carlos Williams’ lesser-known work, A Novelette. Although Jacqueline Saunier-Ollier considers A Novelette “the work by Williams that was most influenced by surrealism,” it has received very little critical attention; in fact, only one article has been devoted to A Novelette so far. There are two main reasons for this critical neglect. First, A Novelette has a hybrid style, in spite of its generic form. It oscillates between novelistic and short story form, and between prose and poetry. Second, this paper will show that the history of the novel’s publication was problematic.
In a paper published in a special issue of the William Carlos Williams Review, which was devoted to Williams’ relationships to surrealism, Dickran Tashjian shows how Williams gives his personal definition of the issues and modalities of automatic writing in his 1936 manifesto “How to Write.” In this manifesto, Williams does not view automatic writing in a Freudian sense as the French surrealists do. On the contrary, he develops a Jungian philosophy inspired by his reading of Jung’s “Psychology and Poetry” in the June 1930 issue of transition – i.e., the same issue in which “The Simplicity of Disorder” is published. Unlike Dickran Tashjian and Jeffrey Peterson, I argue that Williams’ experiments are not “automatic writing” but “spontaneous writing.” Indeed, Williams dismisses outright the psychological work that “automatic writing” entails. For example, in this passage of a letter to James Laughlin, he says: “To hell with them. I’m afraid the Freudian influence has been the trigger to all this. The Surrealists followed him. Everything must be tapped into the subconscious, the unconscious …”
This paper aims to show that six years before “How to Write” was published and even before Williams had read Jung’s article in transition, “The Simplicity of Disorder” posed a critical challenge to French surrealism. Rather than “cutting a trail through the American jungle without the use of a European compass,” Williams uses the compass of French surrealism to follow a different path.
Furthermore, this analysis of A Novelette approaches Williams’ work as a stimulating and seminal response to French surrealism. Although Williams does not show any particular interest in the French surrealists’ signature themes (the city, night time, strolling, mystery, the Woman, chance, etc), he is eager to rethink surrealist writing according to three main axes. The poet develops a “spontaneous writing” which is unlike that of the French avant-garde. Though he characterizes it as less solemn, less conceptual, and less symbolic, he insists that it is uniquely American and more concrete than French surrealist writings. For Williams, writing is not an end in itself, but a way to show urgency. He uses spontaneous writing to express physiological relief, which is often sexual or excremental. The conclusion of this paper will show that transition plays a crucial role in generating a specific American literary surrealist current years before the official American Surrealist movement was created in 1966 in Chicago, and before Breton’s exile to the U.S. during World War 2.