Robert Desnos: Some Information Needed
Rajah of the Orange Groves
and I am looking for biographical resources.
If anyone can help direct me to any books written on him or
biographical information, I would be greatly appreciative.
john adams
"Rajah of the Orange Groves" <michael_...@yahoo.com> wrote in message
news:aebca626.02012...@posting.google.com...
Here are some Desnos Links.
Biography: http://www.kalin.lm.com/bio.html
Image Gallery: http://www.kalin.lm.com/despho.html
(A Handsome Amount Of) Selected Texts: http://www.kalin.lm.com/desnos.html
More Biography And Translations: http://members.aol.com/benedit5/index.html
Brandon Freels
nothing too detailed (I forget the translator, and I'm moving so the book is
all packed up). Also, Breton's biography by Polizzotti has some good
sections concerning Desnos.
"Rajah of the Orange Groves" <michael_...@yahoo.com> wrote in message
news:aebca626.02012...@posting.google.com...
Morpheal
> Try his selected poems, which has, if I remember, a good outline -- although nothing too detailed (I forget the translator, and I'm moving so the book is all packed up). Also, Breton's biography by Polizzotti has some good sections concerning Desnos.
Anything as regards Breton that fails to comprehend Breton's sense of
humour is not worthy of any attention. One day an intellectual somewhere
will be studying Breton intensely trying to understand every nuance of
every word, and will suddenly be found dead.
He will have died from laughter.
M.
Parry
Poète français, né à Paris en 1900, mort à Térézin (Tchécoslovaquie) en
1945. Il joue un rôle décisif dans le surréalisme entre 1922 et 1929,
notamment au cours de l’époque dite <<des sommeils>>. Mieux que dans ses
vers, il a laissé le meilleur de son inspiration dans la prose poétique
de *La Liberté ou l’Amour* (1927). Il a été déporté à Buchenwald par les
nazis.
Or so I’ve read (“Le Surréalisme,” L’Univers de l’Art). The only notable
critical work I could find reference to is Marie-Claire Dumas’ “R.D. ou
l’exploration des limites” (Klincksieck, 1978), which apparently also
has a good Desnos bibliography. Might be a place to start.
Frankly, I don’t find biographies all that interesting. Hope your work
captures his ideas and passions, and that it’s a musical.
-- Parry
Other scraps, the more interesting ones coming from Lewis’ “The Politics
of Surrealism”: “In 1922 the author of *Deuil pour deuil* was noted for
his ability at automatic writing, and his ‘sleep period’ saw some
superbly successful examples of his verbal and graphic work. In 1929 he
was among those whom the *Second Manifesto* separated from Surrealism.
During the Occupation he was deported to Buchenwald, then to Terezin
where he died of typhus.”
“To achieve their stated objective of joining dream and reality, the
Surrealists developed various techniques such as automatic writing,
games and experiments with hypnosis, seances and trance-like states;
chance and spontaneity were valorised as a way of breaking down the
barriers of logic and gaining access to the depths of the unconscious
mind. Such excursions, no matter how often Breton and others solemnly
rejected the existence of the supernatural, led the Surrealist group at
times into the swamp of spiritualism. According to Nadeau, for example,
‘a hosannah in honour of the East,’ constituted almost the entire third
issue of La Revolution Surrealiste, edited by Antonin Artaud in the
spring of 1925. Artaud, Robert Desnos and others had discovered a ‘new
kind of mysticism’ associated with ‘the mysterious East of the Buddha
and the Dalai Lama.’ At this point Breton reassumed editorial control of
the journal and soon afterward developed an orientation toward Marxism
and the Communist Party.”
“Desnos, who had appeared able to fall into a trance at will, said he
had really faked these hypnotic states.”
“Anti-colonialism was also an enduring Surrealist theme and generlized
violence was advocated by Desnos, who protested the ‘westernization’ of
the whole world. He attacked the League of Nations for passing
resolutions against narcotics and pornography saying ‘it seems to me
that your society has as its main goal the struggle against liberty,’
and he declared that the only solution was ‘revolution, that is to say
the Terror.... only the guillotine could, by dark strokes, enlighten
that mob of adversaries.... Ah! Let that sympathetic machine of
deliverance be erected on a public square.’ The Surrealists’ consistent
and furious opposition to nationalism in any form was expressed, also by
Desnos, who was a Jew, in ‘Pamphlet contre Jérusalem.’ ‘Allow me to
express, in a writing that is not anti-Semitic, all the horror I feel at
this rising nationalism.... Here is a sentimental movement, born of the
League of Nations, pushing for the reconstruction of Zionism and the
foundation of a Jewish state as ridiculous and artificial as Poland.’”
“There was... [in *Clarté*] an article by Desnos who made a heroic
attempt to give a Marxist interpretation to Breton’s famous definition
of Surrealism in the *First Manifesto*. He conceded that the idea of
psychic automatism, of thought dictation in the absence of all control
by reason, outside of any moral or aesthetic considerations, might not
seem at first glance to have revolutionary significance. But it really
does, as Desnos explained it, because by reason was meant *bourgeois*
reason and ignoring aesthetic and moral questions meant ignoring
*bourgeois* aesthetic and moral questions. Therefore even this
definition, seemingly so irrelevant to political issues, was really
‘perfectly compatible with the Revolution and I doubt that even Karl
Marx would take exception to this.’”
Second Manifesto: “Breton [...] also reluctantly took leave of Desnos
who had played such an important role in the automatic writing
discoveries but who now refused to concede the importance of the social
questions which confronted Surrealism.”
“Desnos accused [Breton] of making a lot of money by peddling art works
in the Surrealist gallery he ran, while adamantly condemning others for
trying to earn a living.”
“After his exclusion from surrealism devoted himself primarily to
journalistic activity; much of his later poetry is characterised by a
return to fixed forms, rhyme, etc.”
“Desnos, arrested by the Gestapo, died in Theresienstadt, but [was not]
active in Surrealist circles at the time of the war.”
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Morpheal
> “Desnos, arrested by the Gestapo, died in Theresienstadt, but [was not] active in Surrealist circles at the time of the war.”
The most interesting point from all of that, and another emphasis that
totalitarianism and totalism always despise surrealism. It is their
antithesis, and in some instances leads to their comprehension as what
they truly are, as well as being a primary weapon of opposition.
Robert Morpheal
Rajah of the Orange Groves
> Rajah of the Orange Groves wrote:
> >
> > I am looking into writing a short play on the life of Robert Desnos,
> > and I am looking for biographical resources.
> >
> > If anyone can help direct me to any books written on him or
> > biographical information, I would be greatly appreciative.
>
> Poète français, né à Paris en 1900, mort à Térézin (Tchécoslovaquie) en
> 1945. Il joue un rôle décisif dans le surréalisme entre 1922 et 1929,
> notamment au cours de l'époque dite <<des sommeils>>. Mieux que dans ses
> vers, il a laissé le meilleur de son inspiration dans la prose poétique
> de *La Liberté ou l'Amour* (1927). Il a été déporté à Buchenwald par les
> nazis.
>
> Or so I've read ("Le Surréalisme," L'Univers de l'Art). The only notable
> critical work I could find reference to is Marie-Claire Dumas' "R.D. ou
> l'exploration des limites" (Klincksieck, 1978), which apparently also
> has a good Desnos bibliography. Might be a place to start.
>
> Frankly, I don't find biographies all that interesting. Hope your work
> captures his ideas and passions, and that it's a musical.
Personally I *detest* musicals - the most God-awful form of entertain
I could imagine subjecting myself too. Which means making it a musical
is perhaps a *good* idea. ;)
>
> Other scraps, the more interesting ones coming from Lewis' "The Politics
> of Surrealism": "In 1922 the author of *Deuil pour deuil* was noted for
> his ability at automatic writing, and his ‘sleep period' saw some
> superbly successful examples of his verbal and graphic work. In 1929 he
> was among those whom the *Second Manifesto* separated from Surrealism.
> During the Occupation he was deported to Buchenwald, then to Terezin
> where he died of typhus."
That was where I had intended to begin and end the play. One of the
sites I was on relayed how he would read the palms of people and tell
them long lives were assured. A poignamt image to be sure.
> "To achieve their stated objective of joining dream and reality, the
> Surrealists developed various techniques such as automatic writing,
> games and experiments with hypnosis, seances and trance-like states;
> chance and spontaneity were valorised as a way of breaking down the
> barriers of logic and gaining access to the depths of the unconscious
> mind. Such excursions, no matter how often Breton and others solemnly
> rejected the existence of the supernatural, led the Surrealist group at
> times into the swamp of spiritualism. According to Nadeau, for example,
> ‘a hosannah in honour of the East,' constituted almost the entire third
> issue of La Revolution Surrealiste, edited by Antonin Artaud in the
> spring of 1925. Artaud, Robert Desnos and others had discovered a ‘new
> kind of mysticism' associated with ‘the mysterious East of the Buddha
> and the Dalai Lama.' At this point Breton reassumed editorial control of
> the journal and soon afterward developed an orientation toward Marxism
> and the Communist Party."
Well thank you Monsieur Breton.
> "Desnos, who had appeared able to fall into a trance at will, said he
> had really faked these hypnotic states."
Good for him!
> "Anti-colonialism was also an enduring Surrealist theme and generlized
> violence was advocated by Desnos, who protested the ‘westernization' of
> the whole world. He attacked the League of Nations for passing
> resolutions against narcotics and pornography saying ‘it seems to me
> that your society has as its main goal the struggle against liberty,'
The more things change...
> and he declared that the only solution was ‘revolution, that is to say
> the Terror.... only the guillotine could, by dark strokes, enlighten
> that mob of adversaries.... Ah! Let that sympathetic machine of
> deliverance be erected on a public square.' The Surrealists' consistent
> and furious opposition to nationalism in any form was expressed, also by
> Desnos, who was a Jew, in ‘Pamphlet contre Jérusalem.' ‘Allow me to
> express, in a writing that is not anti-Semitic, all the horror I feel at
> this rising nationalism.... Here is a sentimental movement, born of the
> League of Nations, pushing for the reconstruction of Zionism and the
> foundation of a Jewish state as ridiculous and artificial as Poland.'"
I agree.
> "There was... [in *Clarté*] an article by Desnos who made a heroic
> attempt to give a Marxist interpretation to Breton's famous definition
> of Surrealism in the *First Manifesto*. He conceded that the idea of
> psychic automatism, of thought dictation in the absence of all control
> by reason, outside of any moral or aesthetic considerations, might not
> seem at first glance to have revolutionary significance. But it really
> does, as Desnos explained it, because by reason was meant *bourgeois*
> reason and ignoring aesthetic and moral questions meant ignoring
> *bourgeois* aesthetic and moral questions. Therefore even this
> definition, seemingly so irrelevant to political issues, was really
> ‘perfectly compatible with the Revolution and I doubt that even Karl
> Marx would take exception to this.'"
Or perhaps he would. But who cares?
> Second Manifesto: "Breton [...] also reluctantly took leave of Desnos
> who had played such an important role in the automatic writing
> discoveries but who now refused to concede the importance of the social
> questions which confronted Surrealism."
>
> "Desnos accused [Breton] of making a lot of money by peddling art works
> in the Surrealist gallery he ran, while adamantly condemning others for
> trying to earn a living."
Monsieur Breton a hypocrite? C'est impossible!
> "After his exclusion from surrealism devoted himself primarily to
> journalistic activity; much of his later poetry is characterised by a
> return to fixed forms, rhyme, etc."
Good for him.
> "Desnos, arrested by the Gestapo, died in Theresienstadt, but [was not]
> active in Surrealist circles at the time of the war."
Bravo Robert!
elag
>
> Parry <pa...@perfectOMITmail.com> wrote in message news:<3C5402...@perfectOMITmail.com>...
> > Rajah of the Orange Groves wrote:
> > >
> > > I am looking into writing a short play on the life of Robert Desnos,
> > > and I am looking for biographical resources.
> > >
> > > If anyone can help direct me to any books written on him or
> > > biographical information, I would be greatly appreciative.
> >
> > Poète français, né à Paris en 1900, mort à Térézin (Tchécoslovaquie) en
> > 1945. Il joue un rôle décisif dans le surréalisme entre 1922 et 1929,
> > notamment au cours de l'époque dite <<des sommeils>>. Mieux que dans ses
> > vers, il a laissé le meilleur de son inspiration dans la prose poétique
> > de *La Liberté ou l'Amour* (1927). Il a été déporté à Buchenwald par les
> > nazis.
> >
> > Or so I've read ("Le Surréalisme," L'Univers de l'Art). The only notable
> > critical work I could find reference to is Marie-Claire Dumas' "R.D. ou
> > l'exploration des limites" (Klincksieck, 1978), which apparently also
> > has a good Desnos bibliography. Might be a place to start.
> >
> > Frankly, I don't find biographies all that interesting. Hope your work
> > captures his ideas and passions, and that it's a musical.
>
> Personally I *detest* musicals - the most God-awful form of entertain
> I could imagine subjecting myself too. Which means making it a musical
> is perhaps a *good* idea. ;)
You're a person after my own heart. Be sure to incorporate paint cans
telephone books and shopping carts as musical instruments... and maybe a
sousaphone... gotta love dem sousaphones.
....
> > "Desnos, who had appeared able to fall into a trance at will, said he
> > had really faked these hypnotic states."
>
> Good for him!
I like the idea of our Desnos constantly going into a trance... maybe sleep-singing.
Parry
> Parry <pa...@perfectOMITmail.com> wrote in message news:<3C5402...@perfectOMITmail.com>...
> > captures his ideas and passions, and that it's a musical.
>
> Personally I *detest* musicals - the most God-awful form of entertain
> I could imagine subjecting myself too. Which means making it a musical
> is perhaps a *good* idea. ;)
I’ve tried my hand at a musical treatment in a separate post. But if we
can’t get Nathan Lane to play Desnos the deal’s off.
[snip]
> > "There was... [in *Clarté*] an article by Desnos who made a heroic
> > attempt to give a Marxist interpretation to Breton's famous definition
> > of Surrealism in the *First Manifesto*. He conceded that the idea of
> > psychic automatism, of thought dictation in the absence of all control
> > by reason, outside of any moral or aesthetic considerations, might not
> > seem at first glance to have revolutionary significance. But it really
> > does, as Desnos explained it, because by reason was meant *bourgeois*
> > reason and ignoring aesthetic and moral questions meant ignoring
> > *bourgeois* aesthetic and moral questions. Therefore even this
> > definition, seemingly so irrelevant to political issues, was really
> > ‘perfectly compatible with the Revolution and I doubt that even Karl
> > Marx would take exception to this.'"
>
> Or perhaps he would. But who cares?
The Communist Party, basically. This was the period when the surrealists
felt communism provided the best chance for revolution and they were
attempting to explain themselves to the CP. Working with Clarté magazine
was fruitful, but when they later had to deal with the CP they soon
discovered cooperation was a one-way street, though they continued a
hopeful struggle for several years.
-- Parry
elag
>
> Rajah of the Orange Groves wrote:
> > Parry <pa...@perfectOMITmail.com> wrote in message news:<3C5402...@perfectOMITmail.com>...
> > > Frankly, I don't find biographies all that interesting. Hope your work
> > > captures his ideas and passions, and that it's a musical.
> >
> > Personally I *detest* musicals - the most God-awful form of entertain
> > I could imagine subjecting myself too. Which means making it a musical
> > is perhaps a *good* idea. ;)
>
> I’ve tried my hand at a musical treatment in a separate post. But if we
> can’t get Nathan Lane to play Desnos the deal’s off.
I got a flash of Jean-Pierre Léaud (Antoine Doinel in the 400 Blows) in
the role... maybe because he's such a hang-dog who can't quite discern
between reality and fantasy. He's a bit old for the role I suppose.
>
> [snip]
> > > "There was... [in *Clarté*] an article by Desnos who made a heroic
> > > attempt to give a Marxist interpretation to Breton's famous definition
> > > of Surrealism in the *First Manifesto*. He conceded that the idea of
> > > psychic automatism, of thought dictation in the absence of all control
> > > by reason, outside of any moral or aesthetic considerations, might not
> > > seem at first glance to have revolutionary significance. But it really
> > > does, as Desnos explained it, because by reason was meant *bourgeois*
> > > reason and ignoring aesthetic and moral questions meant ignoring
> > > *bourgeois* aesthetic and moral questions. Therefore even this
> > > definition, seemingly so irrelevant to political issues, was really
> > > ‘perfectly compatible with the Revolution and I doubt that even Karl
> > > Marx would take exception to this.'"
> >
> > Or perhaps he would. But who cares?
>
> The Communist Party, basically. This was the period when the surrealists
> felt communism provided the best chance for revolution and they were
> attempting to explain themselves to the CP. Working with Clarté magazine
> was fruitful, but when they later had to deal with the CP they soon
> discovered cooperation was a one-way street, though they continued a
> hopeful struggle for several years.
The Internationale
Words by Eugene Pottier (Paris 1871)
Music by Pierre Degeyter (1888)
Arise ye workers from your slumbers
Arise ye prisoners of want
For reason in revolt now thunders
And at last ends the age of cant.
Away with all your superstitions
Servile masses arise, arise
We'll change henceforth the old tradition
And spurn the dust to win the prize.
So comrades, come rally
And the last fight let us face
The Internationale unites the human race.
So comrades, come rally
And the last fight let us face
The Internationale unites the human race.
No more deluded by reaction
On tyrants only we'll make war
The soldiers too will take strike action
They'll break ranks and fight no more
And if those cannibals keep trying
To sacrifice us to their pride
They soon shall hear the bullets flying
We'll shoot the generals on our own side.
No saviour from on high delivers
No faith have we in prince or peer
Our own right hand the chains must shiver
Chains of hatred, greed and fear
E'er the thieves will out with their booty
And give to all a happier lot.
Each at the forge must do their duty
And we'll strike while the iron is hot.
________________________________________
________________________________________
________________________________________
The Internationale was written to celebrate the Paris Commune of
March-May 1871: the first time workers took state power into their own hands.
They established in the Commune a form of government more democratic
than ever seen before. Representatives were mandated on policy questions
by their electors, they were recallable at any time and were paid wages
that reflected those of their constituents. The Commune was a working body,
not a talk shop. The distinction between legislative and executive arms
of government was abolished. Marx's Civil War in France is a suberb account
of the history and significance of the Commune. The Commune was drowned
in blood by the conservative French government in Versailles, cheered
on by the ruling classes of the world.
Workers have adopted a similar pattern of organisation whenever they
have challenged the capitalist class for state power: in the form of the
Soviets in
Russia in 1917; collectives in Spain in 1937; the Workers Council of
Greater Budapest in Hungary in 1956; the cordones in Chile in 1973; and, in
many respects, Solidarity in Poland in 1980.