.... Rather, Eburne contends that the surrealist group’s fascination with crime and violence “was fundamental to its responses to pressing political and intellectual events of the twentieth century” (1) and that the surrealist engagement with crime represents a collective effort to understand more...

... promise encoded in this relation. Works Cited Adamowicz Elza . 1998 . Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse . Cambridge : Cambridge University Press . Adorno Theodor . 1990 . Negative Dialectics . Translated by Ashton E. B. London...

... of the book, the second chapter of which was to deal with the relationship between Bishop and “the surrealists and the symbol­ ists too,” particularly “Klee and Ernst.” Stevenson perceived in all three an interest in “hallucinatory and dream material” and a shared belief...

...). The Darwin letter demonstrates, Pickard argues, how misunderstanding of Bishop’s relation to surrealism has led to misreadings of her poetry. He writes that “the Darwin Letter is really an attempt to reclaim aesthetic territory—the uncanny, the unexpected—that the surrealists have effectively co...

... persistence of the unknown and the threat of absolute extinction (11). 7 This surrealist technique can also be found in Dinah’s cave, although she does not recognize it as such. Mrs. Coral, on first seeing the exhibits, wonders if Dinah is planning a jumble sale ( LG 9). Because Dinah is collecting...

... and movements should be considered in discussions of literature and politics. This is demonstrated in Kohlmann’s reading of the Surrealists. The Surrealists have often been represented as turning from the social to the individual, from politics to psychology. The contemporary Marxist critic Christopher Caudwell...

... of Black struggle and achievement, not only exposed the young man to ways of thinking about race and prejudice that were distant from his upbringing in the Dublin suburbs; it also brought him into contact with the Surrealist’s critique of French colonialism: indeed, according to Morin, Cunard’s anthology...

... ticket” (63). Borinsky explores these concerns in both Pizarnik’s poetry and her extraordinary short story “The Bloody Countess,” which imagines the life of the Countess Bathory, a Surrealist “heroine” who is said, in the sixteenth century, to have killed more than a hundred girls to seep herself...

..., an industrial street, the world’s first altitude record, a dirty bar, milkmen. Apollinaire introduces the jump cut, as from “Coblenz at the Hotel of the Giant” to “Rome sitting under a Japanese medlar tree”: montage of time & space, surrealist juxtaposition of opposites, compression of images, mind gaps...

... of the relationship between painter and model, and of the surrealist movement in particular. Most moving by far is DuPlessis’s reading of George Oppen, ‘“Un­ cannily in the Open’: In Light of Oppen.” Oppen was a member of the short-lived Objectivist movement of the early 1930s, but would abandon poetry...

... of fantasy and of surrealistic montage. The reference to the day “as long and white as a camel” is prelude to orientalist and Africanist fantasies, especially as the “camel” becomes the mythical beast, “camelopard.” But the simile “long and white as a camel” also makes sense as a reference...

... articulated its project(s) in terms of intimacy: unlike the radical politics of the avant- garde futurists or surrealists, Bloomsbury cultivated an insider-outsider perspective that stressed an ambivalent continuity with Victorianism rather than a utopian or apocalyptic break (the stock-in-trade...

...), Ashbery cited these poems, in his introduction to the Collected O ’Hara, as examples of the early style that O ’Hara needed to leave be­ hind: What was needed was a vernacular corresponding to the cre­ atively messy New York environment to ventilate the concen­ trated Surrealist imagery...

... of coming to pass. There is, in many recent tributes to the modernist imagination, a nostalgia for a time when an ex­ hibition of surrealist paintings or the mere sight of a urinal mounted on a pedestal might inspire heartfelt revulsion or incomprehension. Anyone who has spent a weekend in New York...

... childhood nonhomes for the first of many adult foreign residencies, Bishop deliberately explored the French symbolist and surrealist aesthetic and began exploring her distinctive poetic space, that place where, as she says in “Paris, 7 a.m observation is “like introspection / or retrospection...

... with the racialized other of the Brit- ish colonies who is imagined as a source of primal and dangerous energy. While some surrealist modernists saw these kinds of appropriations as an attempt to rejuvenate (see Torgovnick), to “recuperate” a so-called savage sensibility, Sitwell’s poem deploys the merger...

... imported by the Span­ ish conquistadors and subsequently adopted by American slaveholders. Biracial does litde to correct this, since it frequently assumes that race is somehow biological. 4 .1 am drawing on Georg Lukács’s theory of reification. 5. Jules-Marcel Monnerot, a Martiniquan surrealist...

... lying outside the frame, as in Jameson’s famous example of Bob Perelman’s “China” poem. Perelman’s text initially appears to be a continuous stream of surrealist images flowing from the author’s unconscious but later turns out to be a series of captions to a book of photographs. Instead, each...

... and politically provocative war poems of the period, with the grotesquery of lines like Bynner’s “Knives for feet, and wheels for a chin, /And the long smooth iron bore for a neck, /And bullets for hands,” and Ficke’s “I shall have to follow my roof into the war,” sounding the surrealistic keynote that permeates...

... of per­ ception” and thus an acute awareness of those “states of soul beyond the limit of the visible spectrum of human feeling” (12). But despite his emphasis on the artist as a “medium” or a “vehicle,” Eliot sets no store by surrealist experiments or the trend of automatic writing; he refuses...