Imagine a 'movement', not retrospectively constructed by the tidy, potty-trained minds of academics, but consciously created by its actors with a view to putting an end to the culture of potty-training (perhaps one of the meanings of Duchamp's notorious urinal). Surrealism was such a creature. It was a 'movement' in the sense of having a whole apparatus: committees, bureaux, meetings, manifestos, publicity, recruits, sectarian disputes, purges, punch-ups and, of course, in André Breton, a leader. Its proclaimed goal was the liberation of 'man' from the chains of the super-ego and of 'life' from the constraints of the reality-principle ('reality', Breton wrote in one of his many lofty pronouncements, was 'a miserable mental expedient'). Almost permanently divided within itself, the movement proclaimed an end to division and the transcendence of contraries and contradictions in a new life-emancipating harmony, 'a leap from the realm of necessity into the realm of freedom; in the sense that contemporary man, full of contradictions and lacking in harmony, will pave the way for a newer, happier race.'

LRB 7 March 1996 | PDF Download