Affirmation of the Marvelous, which is also the negation of all that
rationalizes misery, is the key to all forms of surrealist research,
also known as the "practice of poetry."
For surrealists, poetry is always discovery, risk, revelation,
adventure, an activity of the mind, a method of knowledge leading to
revolutionary solutions to the fundamental problems of life.
Poetry is therefore the opposite of "literature"--a term which, in
surrealist discourse, signifies a benumbing distraction that serves only
the needs of repression and conformity.
-- Penelope Rosemont. "All My Names Know Your Leap:
Surrealist Women and Their Challenge." Surrealist Women: An
International Anthology, Austin: University of Texas Press (1998).
[Surrealists] have always rejected what they consider to be the
militaristic label "avant-garde," which critics like to apply to every
cultural novelty.
-- Penelope Rosemont. "All My Names Know Your Leap:
Surrealist Women and Their Challenge." Surrealist Women: An
International Anthology, Austin: University of Texas Press (1998).
By boldly identifying themselves with the cause of working-class
self-emancipation, the surrealists demonstrated their utter scorn for
capitalism's cultural elitism.
They also avoided the trap of "mysticism," another means by which poets
are converted into innocuous comforters of the existing order.
Surrealism's atheistic and materialist conception of poetry vigorously
rejects the consolations of organized religion--that "impoverished
magic," as Joyce Mansour called it--whose ideologies it regards as
inherently authoritarian and imagination-stifling.
-- Penelope Rosemont. "All My Names Know Your Leap:
Surrealist Women and Their Challenge." Surrealist Women: An
International Anthology, Austin: University of Texas Press (1998).
By freeing "the practice of poetry" from the confines of literature,
religion, and other forms of idealism--that is, from society's received
ideas and other debris of the past--surrealism restored to poetry the
prophetic voice that most of those who called themselves poets had long
since renounced in favor of artifice, mystification, and other literary
vanities. All that surrealists have done in poetry and the arts can be
seen as a prophetic warning in regard to what Breton called the "extreme
precariousness" of the human condition and at the same time an
incitement to do something about it.
In a nutshell, the surrealist argument goes like this: If civilization
persists on its disastrous path-denying dreams, degrading language,
shackling love, destroying nature, perpetuating racism, glorifying
authoritarian institutions (family, church, state, patriarchy, military,
the so-called free market), and reducing all that exists to the status
of disposable commodities--then surely devastation is in store not only
for us but for all life on this planet. Effective ways out of the
dilemma, however, are accessible to all, and they are poetry, freedom,
love, and revolution.
-- Penelope Rosemont. "All My Names Know Your Leap:
Surrealist Women and Their Challenge." Surrealist Women: An
International Anthology, Austin: University of Texas Press (1998).