surrealist women, women poets, haikus

Singularlyif there is indeed a lesson to be learned from The Spider Hanging from an Eyelasha remarkable anthology placed under the sign of an arachnid which weaves a gaze or an eye in which a spider pearls, is that there is no surrealist poet, not in the sense, in any case, where the We used to talk about a naturalist novelist or an Italian western. Surrealism is what these 33 buccaneers show us at every moment. This incandescent squad of saints from the abyss is a risky stake of the whole being, in all places and at every moment, not an insert, an affiliation or a method.

Annie Lebrun (1942-2024), as always, cuts to the chase: “The surrealist woman appears[ît] like the exquisite corpse awaited by all those frightened by feminine revolt and terrorized by surrealist rigor. » By Suzanne Allen (“Eldest daughter of the revolt and came into the world to spit out my kernels”) to the German Unica Zürn, the suicide muse of Hans Bellmer, several fundamentals should be noted. First the planetary dimension: from Peru (Simone Breton) and Mexico (Frida Kahlo) to Greece (Gisèle Prassinos) and Egypt (Joyce Mansour) via Sweden (Greta Knutson), feminine surrealism ignites and bring the planet back together. Then, this nodal element that the women invited here are polytechnic creators for whom the pen is only an ink brush, a number of painters, filmmakers and sculptors among them: Leonora Carrington, Léonor Fini, Valentine Hugo, Dorothy Tanning, Nelly Kaplan, Frida Kahlo or Toyen. To close this inventory, let us note the predictable and meticulous destruction of moral order and dynastic peace, best embodied by the consumed Laure (Colette Peignot) or, a pure delight, the Belgian Suzanne Lilar, a self-proclaimed surrealist and wife… of a Belgian minister of justice.

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