Breton Eluard Immaculate Conception

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Published by Atlas Press, 10 Park St., London SE1 9AB, French text © 1961, Pierre Seghers.

This editfon © 1990, Atlas Press. Printed by Antony Rowe ltd., Chippenham.

British Library Cataloguing in Publication Data Breton, Andre, 1896-1966

The immaculate conception. I. Title II.Biuid.PuiI,J#95-/ft52

III. L'immaculee conception. English

ISBN 0-947757-22-8

Our thanks for assistance with this project to: Arts Council of Great Britain, The French

Ministry of Culture, and The Elephant Trust.

(3 / V S *>?^

Introduction 7 Notes on a Collaboration 23

Insert 25

MAN Conception 31

Intra-Uterine Life 33 Birth 37 Life 39

Death 43

THE POSSESSIONS Authors' preface 47

Attempted Simulation of Mental Debility 51 Attempted Simulation of Acute Mania 55

Attempted Simulation of General Paralysis' 61 Attempted Simulation of Interpretative Delirium 65

Attempted Simulation of Dementia Praecox 69

THE MEDIATIONS Force of Habit 81

Surprise 85 There is nothing incomprehensible 89

A Feeling for Nature 93 Love 101

The Idea of Becoming 107

THE ORIGINAL JUDGEMENT 113

Notes 123

ANDR£ BRETON ET PAUL ELUABD

L ' l m m a c u l e e

C o n c e p t i o n

EDITIONS SURH£ALI|TES

atmtCmi, i—i—,Ktmrn tun.

INTRODUCTION*

T h e I m m a c u l a t e C o n c e p t i o n of t h e V i r g i n w a s d e c l a r e d i n .1854 b y P o p e P i u s IX. On ly four y e a r s l a t e r B e r n a d e t t e S o u b i r o u s c la imed t o h a v e s e e n t h e Virgin a t L o u r d e s a n d r epo r t ed t h a t t h e Virgin h a d t o ld h e r : "I a m t h e I m m a c u l a t e C o n c e p t i o n / I n F r a n c e w h e n Bre ton a n d E l u a r d c o m p o s e d t h i s b o o k i n 1930 , t h e I m m a c u l a t e C o n c e p t i o n of t h e Virgin w a s a leading t e n e t of t h e Cathol ic c h u r c h a n d o n e of t h e q u e s t i o n s w i t h w h i c h Ca tho l i c s w e r e ident i f ied. T h e m o s t d i r ec t a n d provocat ive reference of t h e t i t le is the re fore t o t h e Virgin, r a t h e r t h a n to C h r i s t (as Eng l i sh r e a d e r s t e n d to a s sume) ; i ndeed t h e au tho r s -c o n s i d e r e d u s i n g a p i c t u r e of t h e s t a t u e a t L o u r d e s o n t h e cover of t h e first ed i t ion , t h o u g h t h i s w a s

l a t e r d r o p p e d . T h e a u t h o r s ' t i t le for t h i s w o r k w i t h i t s l e s s

t h a n p i o u s c o n t e n t s h o u l d , however , b e s e e n h o t o n l y a s a m o r e o r l e s s explici t a t t a c k o n Ca tho l i c d o g m a , b u t ( a m o n g s e v e r a l r e a d i n g s ) , a l s o a s a r e f e r e n c e t o t h e c r e a t i v e p r o c e s s t o w h i c h t h e s e S u r r e a l i s t a u t h o r s a s p i r e d — a c r e a t i o n devoid of l i t e ra ry or ig ina l s i n . T h e q u e s t i o n of t h e r e l a t i o n s h i p .be tween t h e t i t l e a n d t h e c o n t e n t s of t h i s t ex t is of p a r t i c u l a r i n t e r e s t , a n d t h e h e a d i n g s of t h e i n d ividual , s e c t i o n s of t h e t ex t h a v e s i m i l a r d e l i b e r a t e

a m b i g u i t i e s w h i c h go a long w a y t o w a r d s expla in ing t h e book ' s i n t en t ions .

If r e l i g ion , a n d p a r t i c u l a r l y t h e C a t h o l i c r e l i g ion , c a n b e s e e n a s a r a t h e r c r a v e n a n d intel lectual ly depraved way for ind iv iduals to come to t e r m s wi th t h e world, or r a t h e r to s u b m i t to it; t h e n The Immaculate Conception d e s c r i b e s t h e S u r r e a l i s t s ' t o t a l o p p o s i t i o n t o t h i s s t a n c e , b o t h ideologica l ly a n d p rac t i ca l l y . In The Immaculate Conception B r e t o n a n d E l u a r d d e s c r i b e t h e m e a n s t h e wor ld employs to depr ive t h e self of i t s f reedom In a l l s p h e r e s of a c t i o n a n d e x p r e s s i o n a n d t h e m e a n s by w h i c h t h e self c a n recover t h i s freedom. It Is a po l i t i ca l a s well a s a p o e t i c t ex t a n d t h i s s y n t h e s i s i s t h e pe r fec t e x p r e s s i o n of B r e t o n ' s f a m o u s s t a t e m e n t : " T r a n s f o r m t h e wor ld , ' s a i d Marx; ' C h a n g e life. 'said R i m b a u d . For u s t h e s e two w a t c h w o r d s a r e a s one." 2 1930, it s h o u l d b e no t ed , w a s t h e y e a r w h e n t h e S u r r e a l i s t s ' b r e a k w i t h t h e C o m m u n i s t Pa r ty b e c a m e inevitable. .

The Immaculate Conception w a s w r i t t e n d u r i n g A u g u s t a n d S e p t e m b e r 1930 in two p h a s e s : a l e t t e r from E l u a r d to Ga la d a t e d 2 7 t h A u g u s t refers t o t h e first sec t ion , Man, a s a l m o s t finished; t h e r e m a i n d e r of t h e m a n u s c r i p t b e a r s t h e d a t e September 1-15, 1930 (a r a p i d compos i t ion ) . -The w o r k i n g m a n u s c r i p t of Man c o n s i s t s of loose s h e e t s u s i n g t h e b a c k of h e a d e d p a p e r from t h e ho t e l -A u Rendez-vous des Artistes i n the^ P a r i s s u b u r b of Cemay- la -Vi l l e . The . two a u t h o r s w r o t e In pa ra l l e l

w i t h a s h e e t w r i t t e n b y Bre ton m a t c h i n g e a c h s h e e t w r i t t e n b y E l u a r d ; t h e tex ts we re t h e n ' m o u n t e d , ' o r c o m b i n e d , b y c o p y i n g t h e m o n t o a s e c o n d m a n u s c r i p t . T h e t i t l e s p r e c e d e d t h e t e x t s from t h e ve ry s t a r t / a n d t h e r e is good r e a s o n .to b e l i e v e t h a t t h e t i t l e s a c t u a l l y induced t h e wr i t i ng o f t h e t e x t s ( C h e n i e u x - G e n d r o n e x p a n d s o n t h e i r ro le i n t h e p r o c e s s of a u t o m a t i c wri t ing, a r g u i n g t h a t t h i s t ex t i s a r e n e w e d form of a u t o m a t i s m , i n c o m p a r i s o n to t h e p u r e a u t o m a t i s m of The Magnetic Fields3). T h e t i t l e s w e r e s e t u p a t t h e b e g i n n i n g a s m a r k e r s , or s i g n p o s t s , t o c h a n n e l t h e t e x t s as* t h e y w e r e c o m p o s e d b y t h e two a u t h o r s .

T h e e p i g r a p h of t h e first- s e c t i o n , Man, i n r e f e r r i n g t o t h e "Good N e w s B o u l e v a r d " ( t he Boulevard Bonne^Nouvelle in , Paris) re fers to t h e Gospe l , a n d t h u s b y impl ica t ion , to Chr i s t . T h e t i t le of t h e s econd : s ec t i on The Possessions, i s a reference t o d e m o n o l o g y . T h e t i t le of t h e l a s t j s ec t i on , The Original Judgement i s a n i n t e r e s t i n g conf la t ion of Or ig ina l S i n w i t h t h e Las t J u d g e m e n t , a n d t h e t i t le of t h e p i e c e w h i c h l i n k s t h i s s e c t i o n a n d The Possessions i s n o t a C h r i s t i a n t e r m b u t a Hege l ian one : The Mediations. W e k n o w t h a t B r e t o n w a s re r e a d i n g t h e V e r a t r a n s l a t i o n of Hegel i n 1930 a t t h e t i m e of w r i t i n g t h e S e c o n d S u r r e a l i s t Man i fe s to . B r e t o n l a t e r a t t e n d e d Kojeve's l e c t u r e s o n , Hegel w h i c h s o in f luenced Bata i l le a n d Q u e n e a u , a m o n g m a n y o t h e r s ; Hege l i an i n f luences a b o u n d i n The Immaculate Conception. f*

M a n

T h r e e of t h e five t ex t s in t h i s s ec t ion a r e c o n c e r n e d w i t h p r e - n a t a l s t ages . P sychoana ly t i ca l t h e o r y is a c l ea r in f luence here , in p a r t i c u l a r Ot to R a n k ' s b o o k The Trauma of BirtK i n w h i c h R a n k s t r e s s e d t h e s a t i s f a c t i o n of t h e l ib ido in t h e w o m b , a n d o u r nos t a lg i a for th i s , w h i c h after b i r t h c a u s e s anx ie t i e s t h a t m a y lead to neu ros i s . R a n k d o e s in fact refer to t h e I m m a c u l a t e Concep t ion (in t h i s case , of Christ) , a n d e x p l a i n s C h r i s t i a n i t y a s a n "ethicoTrel lgious s u b l i m a t i o n " of t h e p r i m a r y t r a u m a . M a n y of t h e i m a g e s in Intra-Uterine Life c a n b e l inked to R a n k ' s b o o k : t h e c o s y d a r k n e s s of a wor ld w h e r e . n e i t h e r d a y n o r n i g h t exist , t h e face of t h e w o m a n d r e a m e d "from w i t h i n " i n a " b u b b l i n g u p of l igh t , " t h e s w e e t n e s s of a h a r m o n i o u s s t a t e . In t h e f o u r t h s e c t i o n , Life, t h e reca l l of ea r ly ch i ldhood; car i b e l inked to R a n k ' s a s s e r t i o n t h a t .we h a v e a u n i v e r s a l a s p i r a t i o n for.a r e t u r n to o u r or igins . T h e open ing of t h i s t e x t r e l a t e s to t h e h o r r o r e n g e n d e r e d b y b e c o m i n g p a r t of t ime w h i c h is. s e e n a s t h e p r i m a r y t y r a n n y ("the u s e l e s s c lock w h i c h h a s s t a r t e d .to s t r i k e t h e hours" ) .

T h e o r g a n i s a t i o n of t h i s s ec t ion der ives largely f rom t h e p a g e s of H e g e l ' s Encyclopedia of Philosophy h e a d e d Anthropology4. Hegel a c c o r d s p r e - e m i n e n c e to ch i ldhood , in w h i c h h e s o m e t i m e s i n c l u d e s t h e g e s t a t i o n per iod a n d b i r t h ; -he gives a d u l t life a ve ry m e a g r e t r e a t m e n t . He r e m a i n s c o n v i n c e d t h a t a d u l t life is t h e e s s e n c e of living,

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w h e r e t h e indiv idual , n o w a b s o r b e d i n to " the r e a s o n of reality" h a s to w o r k o u t a form of conci l ia t ion w i t h t h e "ha rd , c o m p a c t m a s s " of t h e wor ld . He s e e s n o n e e d t o d i s c u s s t h i s a t l e n g t h a s t h e p r o c e s s c o n s i s t s of a n ind iv idua l ' s c o n s c i o u s n e s s c o m i n g to t e r m s w i t h r e a l i t y a s it i s , b y r e n o u n c i n g I t s you th fu l de s i r e to t r a n s f o r m t h e world . Hegel s p e a k s of t h e " h y p o c h o n d r i a " of t h o s e w h o r e s i s t t h e p r o c e s s of a d a p t a t i o n . T h e Immaculate Conception r a t h e r r eve r se s this , idea : in Life we find t h e "powers of d e s p a i r " d r iv ing peop le to a life in c h a i n s . O n e c o u l d a r g u e t h a t " h y p o c h o n d r i a " a p p e a r s i n t h e s e c o n d sec t ion of t h e b o o k a s The Possessions.

Hegel 's "an thropology" a l s o s t r e s s e s , old age a s "a s t a t e w h e r e t h e world is n o l o n g e r o f in te res t . " T h e l a s t s e c t i o n of Man, en t i t l ed Death d e s c r i b e s t h e a p p r o a c h of d e a t h , in a c o n s c i o u s n e s s t h a t h a s b e c o m e u n a w a r e of t h e p r e s e n t , t u r n e d i n o n t h e p a s t , a n d i s d i s t a n c i n g itself b o t h from o t h e r s a n d f rom t h e w o r l d , u n t i r . i t r e t u r n s t o a s t a t e of indif ferent ia t ion. T h i s is how 'Hege l s a w d e a t h , a s a t r i u m p h of t h e c a t e g o r y over t h e i n d i v i d u a l , a n a b s t r a c t nega t i on of t h e individual .

T h e P o s s e s s i o n s

T h i s s ec t ion i s ce r t a in ly t h e most 1 ce l eb ra ted p a r t of The Immaculate Conception, a n d p o r t i o n s of it h a v e b e e n frequently t r a n s l a t e d ; c r i t i c i sm h a s t e n d e d to c o n c e n t r a t e o n t h i s sec t ion , a s if it w e r e t h e who le b o o k , a n d g i v e n t h e r e m a r k a b l e n a t u r e of t h e

http://untir.it

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exerc ise w h i c h it r e p r e s e n t s , t h i s is u n d e r s t a n d a b l e . B r e t o n m a k e s c l ea r t h a t h e a n d E l u a r d had , n o t a t t e m p t e d to p u t t h e m s e l v e s in to t h e m e n t a l s t a t e s t h e y were desc r ib ing in t h e s e t ex t s . "Possess ion" a s a r e l i g i o u s t e r m i n t h e s e n s e of p o s s e s s i o n b y d e m o n s , impl ies t h e indiv idual be ing occupied by a n o u t s i d e p o w e r . T h e view of m e n t a l i l l n e s s h e r e imp l i e s r a t h e r p o s s e s s i o n by t h e h i d d e n d e p t h s of t h e p s y c h e . T h e p s y c h o a n a l y t i c a l t e r m : "d i spos se s s ion" w a s in u s e a t t h i s . t ime to refer to m e n t a l i l l n e s s w h e r e a fee l ing of l o s s of se l f a c c o m p a n i e d , m e n t a l d i s i n t e g r a t i o n . B r e t o n a n d E l u a r d s e e m to b e a s s e r t i n g . t h a t o n t h e con t r a ry t h e de l i r i um of t h e d e r a n g e d gives t h e m a n ins t inc t ive form in w h i c h to exp res s t he i r "self."

Hegel desc r ibed m e n t a l i l lness a s n o t "abso lu te l o s s of r e a s o n . . . , b u t m e r e l y a d i s t u r b a n c e , a c o n t r a d i c t i o n i n r e a s o n , w h i c h d o e s n o t s e e m to exis t i n t h e sub jec t affected." T h e m a d m a n ' s m i n d is locked i n to " the p e r m a n e n t c o n t r a d i c t i o n b e t w e e n i m m e d i a t e feel ing a n d t h e r a n g e of m e d i a t i o n s w h i c h m a k e u p conc re t e c o n s c i o u s n e s s . " Na tu ra l ly t h e S u r r e a l i s t s a r e o n t h e s i d e of t h e self, t h e m a d m a n . T h e s e c o n t r a d i c t i o n s a r e a r e s u l t of r e a s o n itself b e i n g defective, a n d r e a s o n m u s t b e overcome: it is t h e world w h i c h m u s t s u b m i t . In t h e n e x t s e c t i o n , . The Mediations, t h e s o l i p s i s m of m a d n e s s w h i c h f e a t u r e s in The Possessions i s s e t a g a i n s t t h e r e l a t ionsh ip to o t h e r s a n d to t h e ou t s ide ' world . r i

B r e t o n c a m e a c r o s s t h e c o n c e p t of

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" s i m u l a t i o n " a s a p h e n o m e n o n in m e n t a l i l l n e s s w h e n h e w o r k e d a t S t -Diz ie r i n 1 9 1 6 . Dr . Ala in R a u z y , a p s y c h i a t r i s t , w r o t e a t h e s i s o n The Possessions,5 a n d c o n c l u d e d t h a t t h e y a r e whol ly c o n v i n c i n g , w i t h t h e r e s e r v a t i o n o n l y t h a t t h e m e t a m o r p h o s i s i n t o a b i r d in t h e " i n t e r p r e t a t i v e del i r ium" is r a t h e r too except ional a form of de l i r ium. The choice of a b i rd for t h i s sub jec t m a y well der ive from t h e figure of Loplop, k ing of t h e b i rds , c r e a t e d b y M a x E r n s t .

Attempted Simulation of Mental Debility R a u z y n o t e s t h e m o n o t o n y of t h i s s p e e c h

m a d e u p of t r u i s m s a n d " p u e r i l e i d e a s of r e s p e c t a b i l i t y . " H e c o n c l u d e s : " T h e s t y l i s t i c p e c u l i a r i t y of t h i s t ex t p r o b a b l y de r ives from t h e incongru i ty b e t w e e n i t s verbal fertility, or logor rhea , w h i c h s e r v e s on ly to r e c o n s t i t u t e c l i ches , a n d i t s imag ina t ive pover ty ."

Attempted Simulation of Acute Mania R a u z y c h a r a c t e r i s e s t h e m a n i a c ' s v e r b a l

p a t t e r n a s : " the d e s i r e t o b e r e c o g n i s e d , " w h i c h a p p e a r s i n t h e fo rm of " A d d r e s s e s " ; c h a i n s of a s s o c i a t i o n s of w o r d s o r ideas , b a s e d o n p u n s a n d a s s o n a n c e , w i t h o c c a s i o n a l a p p a r e n t l y log ica l s e c t i o n s " a m i d t h e e x t r a v a g a n c e . " He n o t e s h o w B r e t o n a n d E l u a r d ' s t ex t m i m i c s p r o f o u n d l y " the m a n i a c ' s m o d e of t h o u g h t , w h e r e buffoonery, w h i c h c o n s t a n t l y d e m a n d s a n aud ience , in fact only se rves t o d r e s s u p , in a m u l t i c o l o u r e d b u t p a t c h e d - u p

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c o s t u m e , a n i n to l e r ab l e m o r a l d i s a r r a y , w h i c h i s visible t h r o u g h the holes."

Attempted Simulation of General Paralysis Dr R a u z y n o t e s t h a t " the l a n g u a g e of pa ra ly t i cs

Is r i ch in super la t ives , hyperbole , r e d u n d a n c i e s a n d r epe t i t i ons" upl i f ted by " i n t ense lyr ic ism" i n w h i c h " the inf i l t ra t ion of t h e d e m e n t i a l p r o c e s s i s s h o w n b y al l s o r t s of a b s u r d i t i e s a n d s tereotypes ."

Attempted Simulation of Interpretative Delirium With Dali formula t ing h i s t heo ry of pa r ano i ca l -

c r i t i c a l ac t iv i ty a t t h e t i m e The Immaculate Conception w a s w r i t t e n , t h i s p a r t i c u l a r d e l i r i u m w a s a p r e s s i n g c o n c e r n for t h e S u r r e a l i s t g r o u p ; i n t e rp r e t a t i ve de l i r ium be ing o n e of t h e two cl inical forms of p a r a n o i a ( the o t h e r is demand del ir ium). As m e n t i o n e d above , R a u z y f o u n d t h e b i r d s u b j e c t r a t h e r too except ional to b e realist ic.

Attempted Simulation of Dementia Praecox R a u z y deta i l s h e r e t h e syn tac t i ca l d is loca t ions ,

p r o b l e m s w i th a s s o c i a t i o n of. i deas , p u n n i n g a n d r e d u n d a n t e x p r e s s i o n s , a g a i n s t a b a c k g r o u n d of au t i s t i c de l i r ium m a r k e d by excessive u s e of t h e first p e r s o n s i n g u l a r ; a l s o t h e " c o n c e n t r a t o n i n o n e s ing le t e x t of v a r i o u s l a n g u a g e p r o b l e m s w h i c h in a c t u a l c a s e s a r e s p r e a d over long pe r iods of time." T h e d e s c e n t i n to g ibber i sh of t h e l a s t sec t ion of t h i s t ex t p rov ides a pa r t i cu la r ly in t e res t ing cha l lenge for

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t h e t r a n s l a t o r . H i d d e n i n t h e a u r a l s o u n d of t h e F r e n c h a r e r e f e r e n c e s ( a m o n g o t h e r t h i n g s ) to h a s h i s h s m o k i n g a n d t o v a r i o u s fasc i s t po l i t i c i ans of t h e t i m e , w h i c h h a v e h e r e b e e n t r a n s l a t e d a n d t h e n r e - s c r a m b l e d in to a rough ly equ iva len t Eng l i sh g i b b e r i s h . H e r e , a t l e a s t , i t w a s i m p o s s i b l e td t r a n s l a t e li terally.

T h e Media t ions

As m e n t i o n e d ear l ier , t h e t i t le of t h i s s ec t ion c a n b e t a k e n to refer to t h e Hegel ian c o n c e p t of m e d i a t i o n . T h i s c a n r o u g h l y b e d e s c r i b e d a s t h e m o v e m e n t b y w h i c h c o n s c i o u s n e s s c e a s e s to b e a b s o r b e d in itself a n d goes b e y o n d i t s i m m e d i a t e form s o a s to o p e n i tself to t h e wor ld , a n d s i m u l t a n e o u s l y to i n t e g r a t e t h e w o r l d i n t o i t s o w n rea l i ty . In* m a d n e s s , t h e s u b ) e c t i s s m o t h e r e d b y i m m e d i a t e f ee l i ng . M e d i a t i o n i s t h e p r o c e s s w h e r e b y t h e i m m e d i a t e b e i n g Is p r i z e d o u t of i t se l f , a n d b y w h i c h c o n s c i o u s n e s s b r e a k s o u t of i t s b o n d s . I t i s . a nega t ion , a s it n e g a t e s immediacy - Hegel refers to it a s " a b s o l u t e negat ivi ty ." T h i s no t ion of "negativi ty" s h e d s s o m e l ight o n t h e poet ic t r a n s p o s i t i o n s to ;be found . in t h i s sec t ion; t h e t ex t s h e r e a r e m o r e o r l e s s t r i ck - t ex t s , t h e r e s u l t of g a m e s s u c h a s comple te ly r e - w r i t i n g a n e x i s t i n g t ex t (after t h e m a n n e r of L a u t r e a m o n t ) , * o r c o l l a g e s c o n s t r u c t e d f r o m fragments of ndh - l l t e r a ry s o u r c e s .

It is p l a u s i b l e t h a t the-t i t le The Mediations m a y h a v e s u g g e s t e d t h e u s e of "med ia t ing" t ex t s . It i s

.16

c l e a r f rom t h e m a n u s c r i p t s t h a t t h e t i t les of t h e t e x t s p r e c e d e d t h e i r wr i t ing . T h e r e w e r e s eve ra l p r e l i m i n a r y v e r s i o n s of t h e t i t les of t h i s . s e c t i o n . A f i rs t l i s t u n d e r t h e h e a d i n g Mediations r e a d : Woman. Beauty. Knowledge. Justice. T h e s e , w e r e c rossed o u t a n d replaced by :

A feeling for nature. The sentiment of love. The idea of Justice. The Illusion of progress. Revolutionary Hope.

Thi s t h e n became:

Feeling for Nature. Love. "There is nothing incomprehensible.'' Revolutionary Hope, a n d t h e n , before r e a c h i n g i ts final form:

Force of Habit. Surprise. There is nothing incomprehensible. A Feeling for Nature. Love. Revolutionary Hope.

In t h e final text t h e first p iece is Force of Habit; h a b i t i s d i s c u s s e d by Hegel i m m e d i a t e l y af ter t h e p a g e s descr ib ing m a d n e s s . Habi t m a y relieve s o m e of t h e w e i g h t of everyday life, b u t i t h o l d s t h e m i n d b a c k from t h e t h r e sho ld of freedom. ,

T h e s econd p iece is ent i t led Surprise, a c o n c e p t c e n t r a l to B r e t o n ' s t h i n k i n g , b o t h a s a n a e s t h e t i c s p r i n g b o a r d a n d a s a r e q u i r e m e n t for living, a n d a c o n c e p t r e l a t e d to t h e S u r r e a l i s t s ' i dea of "objective chance . "

T h e title of t h e th i rd p iece is a q u o t a t i o n from L a u t r e a m o n t r T h e r e is nothing incomprehensible. T h e t e x t u s e s a L a u t r e a m o n t - s t y l e t e c h n i q u e — t a k i n g a n e w s p a p e r ar t ic le a n d rewr i t ing it to qu i t e d i f f e r en t effect. T h e a r t i c l e i n q u e s t i o n (from

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LTntransingeant for 1 1 t h S e p t 1930) d e s c r i b e d a conce r t p l ayed b y a n u m b e r of f a m o u s m u s i c i a n s a t a n a l p i n e r e s o r t . B r e t o n a n d E l u a r d r e p l a c e d t h e m u s i c i a n s w i t h c e l e b r a t e d m u r d e r e r s a n d the" m o u n t a i n s w i t h t h e d e p t h s of t h e o c e a n s . T h e M a r q u i s e d e Br inv i l l i e r s t a k e s t h e p l a c e of t h e p i a n i s t M a g d a Tagl iafero , a n d V a c h e r , H a a r m a n , So le i l l and a n d T r o p p m a n h r e p l a c e respec t ive ly "the v io l in i s t s J o s e p h Szigetl , a n d N a t h a n Mils te ln ; t h e p i a n i s t V lad imi r Horowitz , a n d t h e c o n d u c t o r Felix We inga r tne r . T h e choice of t h i s ar t ic le will h a v e b e e n in f luenced b y B r e t o n ' s f a m o u s d is l ike of m u s i c ; h e h a d t h e a d d e d p l e a s u r e in " t r ea t ing" t h e t e x t of m a k i n g a h i n d e c i p h e r a b l e l a b y r i n t h for t h e r e a d e r w h i c h c o m p l e t e l y c o n t r a d i c t s t h e t i t l e . T h e r e p l a c e m e n t of t h e m u s i c i a n s by " a r t i s t s in c r ime" a l s o h a s a Hege l ian r e s o n a n c e — Hegel s a w "crime, l ike m a d n e s s a s a n " e x t r e m e s t a t e . " S o l e i l l a n d d o m i n a t e s , i n t h e p l a c e of Horowitz , a s o n e of t h e l e g e n d a r y f i g u r e s i n w h o m t h e f o r c e s of t h e u n c o n s c i o u s s u c c e e d e d in going b e y o n d w o r d s -tor

ac t ion .

A Feeling for Nature i s a l so a l u d i c tex t . T h e r o m a n t i c n o t i o n of t h e title, s o hea r t i ly d e s p i s e d b y t h e S u r r e a l i s t s , i s c h a l l e n g e d b y t h e H e g e l i a n / M a r x i s t i d e a * t h a t m a n s h o u l d t a m e t h e u n i v e r s e b y m e a n s of knowledge a n d a c t i o n r a t h e r t h a n s t a n d b a c k a n d g a p e a t it. Th is s ec t ion is bu i l t u p from i l l u s t r a t ions ' a n d a r t i c l es t a k e n from b a c k i s s u e s of t h e m a g a z i n e "La Nature" ( th is m a g a z i n e w a s frequently u s e d b y t h e S u r r e a l i s t s , w h o h a d

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p r e v i o u s l y mode l l ed t h e c o v e r s of La Revolution surrealiste o n t h o s e of La Nature, to give t he i r reveiw a " n o n - a r t i s t i c " a p p e a r a n c e ) . B r e t o n a n d E l u a r d h a v e a r b i t r a r i l y t h r o w n t o g e t h e r e x p r e s s i o n s a n d u n r e l a t e d images; for i n s t a n c e , t h e c u r i o u s "window^ n e c k p o d u r e l " c o m e s from „the A u g u s t 1 8 9 3 issue* w h i c h r e p o r t s t h e d i s cove ry of a n e w s p e c i e s of podu re l l e (a t iny reddishTOrange-coIoured insect ) o n t h e s n o w i n t h e G r e a t S a i n t Be rna rd , r a n g e a t t h e F e n e t r e P a s s . "Musk from t r o u t h e a d s " der ives from a 1 8 9 5 ar t ic le desc r ib ing h o w t h e ins t a l l a t ion of a n art if icial m u s k factory n e a r G e n e v a m a d e t h e fish, a n d especial ly t h e t rout , t a s t e of m u s k .

T h e s e q u e n c e a b o u t fire, a fire a l a r m , a c h e r r y b r a n c h a n d a w h i t e bu t te r f ly c o m e s from t h e 1889 v o l u m e , w h e r e a n a r t ic le a b o u t fire p r e c a u t i o n s i s followed t h r e e p a g e s l a t e r b y a p h o t o g r a p h of a b r a n c h of c h e r r y b lo s som. B r e t o n even gives a h i n t of h i s m e t h o d w h e n h e q u o t e s v e r b a t i m a capt ion , from t h i s v o l u m e T h e swa l low-bedecked h a t of a P a r i s i a n lady in 1889."

In Love, r ec ip roca ted love is ce l eb ra t ed for i t s p o w e r to ove rcome t h e imper fec t mediations, a n d b r i n g a b o u t t h e s y n t h e s i s of oppos i t e s . Mos t of t h e c h a p t e r is a . r e -wr i t e of t h e K a m a S u t r a , i n a poe t ic d i s p l a c e m e n t w h i c h e m p h a s i s e s t h e s y s t e m a t i c n a t u r e of e ro t i c i sm, a n d gives m o r e i m p o r t a n c e to t h e n a m i n g t h a n t h e pos i t ions .

T h e Idea of BecomingIs. a* n o t i o n cen t r a l to t h e Hegel ian s y s t e m : " the t r u t h of be ing is becoming" 4s a m a x i m w h i c h w e n t o n to b e t a k e n u p by M a r x a n d

E=

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Enge l s . w i t h c o n s e q u e n t i m p o r t a n c e for B r e t o n a s a c o m m u n i s t ( a l t h o u g h on ly t e m p o r a r i l y a p a r t y m e m b e r ) . T h e c h a n g e of title from t h e first, m o r e t r u m p e t i n g Revolutionary Hope, t o t h i s m o r e p h i l o s o p h i c a l p h r a s e , r a t h e r re f lec ts t h e w a y i n w h i c h t h e v i s i o n of " h u m a n per fec tab i l i ty" w i t h w h i c h t h e t e x t o p e n s , i s g r a d u a l l y o v e r t a k e n b y a p e s s i m i s m w h i c h con ies close to des t roy ing all faith, i n t h e poss ibi l i ty of p rogres s . T h e c u l m i n a t i o n is t h e i m a g e of a s e n s e l e s s b icyc le r a c e o n a n e n d l e s s c i r c u l a r r a c e - c o u r s e . T h e final title a s T h e Idea of Becoming a l lowed t h e two wr i t e r s 'to go -beyond t h i s g loomy c o n c l u s i o n to .the idea of forward ' m o v e m e n t b y u n i t e d h u m a n i t y .

T h e Original J u d g e m e n t

T h e l a s t s e c t i o n c a n b e s e e n a s t h e e n d - p o i n t of t h e d ia lec t ica l m o v e m e n t referred to in t h e " inser t" (see below) — b e y o n d t h e oppos i t ion b e t w e e n p o s s e s s i o n a n d m e d i a t i o n , a n e t h i c s of c r e a t i o n a n d life i s f o r m u l a t e d , of a s u r p r i s i n g a n d of ten s u b v e r s i v e n a t u r e . B r e t o n a n d E l u a r d u s e t h e form of t h e m o r a l p r e c e p t t y p e of> "proverb, w h i c h g o e s b a c k t o P y t h a g o r a s a n d b e y o n d , t o p r e a c h n o t t h e t r a d i t i o n a l w i s d o m of t h e go lden m e a n , b u t r a t h e r s p o n t a n e i t y , d r e a m i n g , o p e n n e s s , c h a n c e ar id rebe l l ion . As B r e t o n p u t it , t h e y w e r e " a g a i n s t al l t h a t s p e a k s a b s u r d l y of e x p i a t i o n , s h a m e f u l l y p r o m o t e s t h e i d e a of r e s i g n a t i o n , o r w o r k s s c a n d a l o u s l y i n f avour of c o n s e r v a t i o n . " The- l a s t

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word of this section,, "dying," perfectly c l o s e s t h e d i s e n c h a n t e d c i r c l e w h i c h o p e n e d w i t h "Conception."

T h i s in troduct ion i s fol lowed by two t e x t s relating to The Immaculate Conception: Breton and Eluard's Notes on a collaboration publ ished in Les Cahiers d'art, Nos 5 -6 , 1935 , a n d the u n s i g n e d "insert" in t h e first edi t ion of The Immaculate Conception. This, s e c o n d p iece i s at tr ibuted by H u g n e t in h i s Petite Anthologie Poetique du Surrealisme of 1934 to Salvador Dali; it s e e m s likely that Breton and, Eluard had a h a n d in it; if nothing else , s o a s to correct Dali's Imperfect French (he h a d on ly left Spa in in 1928). But the text ra i se s t h e interest ing ques t ion of Dali's re lat ionship to The Immaculate Conception.

The anti-religious orientation of the Surrealist group h a d b e e n intensified by Dali's arrival in Paris, preceded by the renown of Un Chien Andalou. The cho ice of The Immaculate Conception a s a title s t e m s from this context; Dali drew the i l lustration for the cover of the first edition of the book a s well a s the frontispiece and_some marginal sketches w h e n a part of it w a s publ ished separately in La Revolution surrealiste. Jacque l ine Chenieux-Gendron argues that Dali w a s "the person to w h o m these pages were written," on the bas i s that Breton and Eluard were wri t ing t h e m ; in order to s u s t a i n t h e i d e a of a u t o m a t i s m aga ins t Dali's descr ipt ion of it a s a "passive state" in h i s recent ly pub l i shed article

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L'Ane Pourri w h i c h promoted h i s "paranoic-critical" procedure. The fact that Eluard w a s reporting to Gala during t h e writ ing of t h e text (Gala h a d left Eluard for Dali and w a s with h im in Catalonia at the time) gives c redence to th i s intui t ion a n d neat ly rounds o u t t h e story of the genes i s of this mult i -faceted text.

1. There are two substantial critical essays on The Immaculate Conception. and this introduction is largely based on the first, to whose authors we extend our thanks:

a. Notice to the text of L'lmmaculee Conception, by Marguerite Bonnet and Etienne-Alain Hubert, in Andre Breton, Oeuvres Completes I, Gallimard (Pleiade), 1988.

b. Towards a New Definition of Automatism:. L'lmmaculee Conception, by Jacqueline Chenieux-Gendron, in Andri Breton Today, Willis Locker & Owens, New York, 1989. 2. Speech to the Congress of Writers, 1935 (conclusion). 3. Also published by Atlas Press, in a translation by David Gascoyne. 4. Seep. 169 ff.ofVol.Iof the French translation by Vera(Paris, 1867);I can find no complete English translation, and the Hegel quotations in this introduction are translated from the French, not German. 5. Alain Rauzy, A propos de L'lmmaculee Conception d'Andre Breton et Paul Eluard, Contribution d I'etude des rapports du Surrealisme et de la psychiatrte, 1970, Faculty de Mededne de lTJniversite de Paris.

NOTES ON A COLLABORATION

In dec l a r i ng the i r differences, m e n w i s h to b e a l ike . F r o m t h i s o n e w i s h all h u m a n r e l a t i o n s der ive t he i r value.

To b e two t o g e t h e r des t roying , bu i ld ing , living, i s a s good a s b e i n g everyone , b e i n g t h e o t h e r ad infinitum a n d n o l o n g e r onese l f . E v e r y r a y of s u n s h i n e b e a r s a s n b w f l a k e , e v e r y h a n d o u t s t r e t c h e d b e a r s a look we know.

A d e e p l y c o n s i d e r e d e x a m i n a t i o n of t h e poss ibi l i t ies offered b y t h o u g h t , w h i c h is c o m m o n to all of u s , m a k e s a n y form of h i e r a r c h y a m o n g m e n s e n s e l e s s . Be tween m a n a n d w o m a n it w o u l d b e t h e very nega t i on of t he i r respect ive roles.

T h i s b o o k w a s w r i t t e n in a fo r tn igh t , a n d w e d e v o t e d t o i t o n l y o u r free t i m e . T h e p e r f e c t k n o w l e d g e w e h a d of o n e a n o t h e r m a d e t h e w o r k eas ie r . B u t above al l it p r o m p t e d u s t o o rgan i s e it i n s u c h a w a y t h a t a poet ic ph i lo sophy e m a n a t e d from i t w h i c h , w i t h o u t b r i n g i n g l a n g u a g e b a c k t o i t s s e n s e s , w o u l d o n e d a y lead to t h e d e v e l o p m e n t of a r ea l ph i l o sophy of poet ry .

(According to Bonnet the foregoing text was written entirely by Eluard for a Japanese edition of T h e

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I m m a c u l a t e Concep t ion . Though he sent it to Breton to amend as he saw fit, the original manuscript discovered in Breton's library reveals that he left it as it was.)

INSERT T O THE IMMACULATE CONCEPTION

If t h e F i r s t a n d S e c o n d M a n i f e s t o e s w e r e a s t a t e m e n t of t h e m a n i f e s t c o n t e n t of t h e S u r r e a l i s t d r e a m , T h e Immaculate Conception i s a s t a t e m e n t of i t s l a t e n t c o n t e n t .

T h e o r i g i n a l w i s h t o m a k e s i m u l a t i o n s of delir ia, ca t egor i sed o r o therwise , will h a v e n o t on ly t h e a p p r e c i a b l e a d v a n t a g e of b r i n g i n g t o l igh t u n f o r e s e e n a n d to ta l ly n e w poe t ic fo rms , b u t a l so t h e t r a n s c e n d e n t e f f ec t . of s a n c t i o n i n g i n a n exempla r i ly d idac t i c m a n n e r , t h e free ca t egor i e s of t h o u g h t w h i c h c u l m i n a t e in m e n t a l d e r a n g e m e n t .

The Immaculate Conception wi l l b e t h e expe r imen ta l s o u r c e to wh ich o n e will h a v e to r e t u r n i n o r d e r t o r e c o g n i s e t h e p o w e r t h o u g h t h a s of a d o p t i n g success ive ly all t h e m o d e s of m a d n e s s ; to r ecogn i se t h i s p o w e r is equ iva len t to a d m i t t i n g t h e r ea l i t y of t h i s m a d n e s s a n d af f i rming i t s l a t e n t ex is tence in t h e h u m a n mind .

The Immaculate Conception i s t h e b o o k t h r o u g h w h i c h , d e s p i s i n g genea logy , w e e n t e r t h e "life of k n o w l e d g e " a n d p u r s u e t h e a d a p t a t i o n of knowledge to o u r des i res , t h a n k s to t h e p o s s e s s i o n s a n d t h e m e d i a t i o n s , w h i c h a r e r o u g h l y o p p o s e d to o n e a n o t h e r in t h e socia l s e n s e , b u t dialectically

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reconcilable. TTie Immaculate Conception i s the book of t h e

ideal "Possession."

THE IMMACULATE CONCEPTION

M A N

C O N C E P T I O N

"Let us go down, the Good News Boulevard, and make a show of it."

V W d a y c o n t a i n e d b e t w e e n t w o o t h e r

J H | ^ P d a y s , a n d a s u s u a l t h e r e i s n o n i g h t ^fk W w i t h o u t s t a r s , t h e l o n g be l ly of t h e %Ap w o m a n r i s e s , it i s a s t o n e a n d t h e ^^W only o n e visible, -the only o n e t h a t i s r e a l

in t h e who le c a s c a d e . Every th ing t h a t h a s b e e n s o m a n y t i m e s u n d o n e i s c o m i n g a p a r t o n c e m o r e ; eve ry th ing t h a t t h e w o m a n ' s bel ly h a s s o m a n y t i m e s u n d e r t a k e n , i n k e e p i n g h e r p l e a s u r e p u r e r t h a n t h e c o l d n e s s of feeling a b s e n t from herself , is u n d e r t a k e n once more . A wild b e a s t cou ld b e be s ide you a n d y o u w o u l d n o t h e a r it b r e a t h i n g . Th i s is n o t t h e gift t h a t y o u w o u l d like to m a k e in o n e p iece of t h a t u n e a r t h e d t r e a s u r e w h i c h i s n o t t h e life y o u would l ike to h a v e received, s ince t h e w o m a n ' s long belly is a s m u c h h e r bel ly a s t h e d r e a m , t h e only d r e a m is to h a v e n o t b e e n b o r n . Night a s u s u a l is so sufficient. Ignorance does so well o u t of it. It d o e s n o t i n t e r r u p t love w h i c h n e i t h e r lies a b e d n o r r i ses . W e

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1

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have blown h a r d on t h e coals, we have looked h a r d a t e a c h o t h e r till w e lost s igh t of ourse lves . A m o m e n t ago, j u s t a m o m e n t ago... we were still only e a c h of u s .

M a n d o e s n o t r e p r o d u c e in a g r e a t b u r s t of l a u g h t e r . M a n d o e s n o t r e p r o d u c e h imse l f . H e h a s never peopled h i s bed except w i th t h e a r d e n t eyes of h i s love. He p r e s u m e s t h e p rob lem i s solved, a n d t h a t is t h a t . T h e p r o b l e m is r a re ly solved. R a g m e n h a v e s o n s w h o a r e real ly t h e s o n s of k ings , s o n s w h o o n o p e n i n g the i r eyes t a k e t he i r m o t h e r s ' d i a d e m s for t h e m a r v e l l o u s filigree of c a r r o t t o p s . S o m e w h e r e v i p e r s a r e b o r n . Fami ly m e n will h a v e n o n e of it. D e s i r e a l o n e g e t s b e h e a d e d . M a k e way, s a y s t h e dr iver of t h e old o m n i b u s , t h e d r ive r w h o will l ook l ike you , w h o will look l ike me , w i t h o u t pi ty for t h e h o r s e s w i t h t he i r sea-of-oil h e a d s . And a s h e i s ve ry polite, w h e n h e says , "Make Way," h e a d d s "Please." T h e p h a n t o m b u s i s a l r e a d y far i n t h e d i s t ance .

O n e s h o u l d : r e m a i n t h e s a m e , f o r e v e r , i n t h i s d i s c o n c e r t i n g g y m n a s t i c p o s i t i o n , h o l d i n g o n e ' s h e a d . i n t h i s ridiculous>way. B u t t h e s t a t u e c r u m b l e s -to d u s t before u s , it re fuses to k e e p i ts n a m e . Luckily y o u - k n o w n o t h i n g a b o u t th i s . You ba re ly g l ance a t t h e image in t h e m u r a l depic t ing Mazeppa , a lone a n d bewi lde red on t h e s t e p p e s . I h a v e a feeling h e h a s m o v e d s i n c e y e s t e r d a y . T h i s r o o m is a b s u r d , w e m u s t b e careful . T h e r e a r e wa l l s h e r e t h a t y o u will neve r b r e a c h , wal l s a t w h i c h I will fling i n s u l t s a n d t h r e a t s , wa l l s t h a t a r e forever t h e co lour of b lood, of blood t h a t h a s been spilt .

INTRA-UTERINE LIFE

o b e n o t h i n g . Of a l l t h e w a y s t h e s u n f l o w e r h a s of loving l igh t , r e g r e t i s t h e m o s t b e a u t i f u l s h a d o w on- t h e s u n d i a l . C r o s s - b o n e s , c r o s s - w o r d s ,

_ v o l u m e s a n d v o l u m e s of i g n o r a n c e , a n d knowledge . W h e r e s h o u l d o n e b e g i n ? F i s h a r e b o r n f rom t h o r n s , m o n k e y s from w a l n u t s . E v e n t h e s h a d e of C h r i s t o p h e r C o l u m b u s p i v o t s a r o u n d Tierra del Fuego, it is n o more difficult t h a n h i s egg.

Grea t s e l f - a s s u r a n c e — great w i t h o u t a n y t e r m of c o m p a r i s o n — al lows t h e g h o s t to d e n y t h e reali ty of t h e fo rms t h a t s h a c k l e it. B u t w e h a v e n o t y e t r e a c h e d t h a t po in t . T h e frozen g e s t u r e s of s t a t u e s in t he i r m o u l d s h a v e given u s t h e s e imperfect , ghos t ly figures: V e n u s e s w h o s e a b s e n t h a n d s c a r e s s t h e ha i r of poe t s .

F r o m o n e r i v e r b a n k t o t h e o t h e r w a s h e r w o m e n c a s t a t e a c h o t h e r t h e n a m e of a fan tas t ic c h a r a c t e r w h o r o a m s t h e world p r e t e n d i n g

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to h a t e all t h a t h e e m b r a c e s . The i r s o n g s a r e j u s t t h e t h i n g to car ry m e away, b u t ye t a r e a l so car r ied a w a y l i k e h o m i n g p i g e o n s w i t h c a m e r a s w h i c h i n v o l u n t a r i l y t a k e p i c t u r e s of t h e e n e m y c a m p . T h e i r eyes a r e l e s s far from m e t h a n t h e v u l t u r e from i t s p rey . I h a v e u n d e r s t o o d t h a t t h e face of a w o m a n r evea l s i tself on ly i n s l eep . I t is i n t h e s h i n i n g l igh t , a m o n g t h e e v e n g r a s s e s of t h e h e a v e n s . F r o m w i t h i n o r from w i t h o u t it is a p e a r l w o r t h a t h o u s a n d t i m e s m o r e t h a n t h e d e a t h of t h e diver . F r o m o u t s i d e i t i s a n a d m i r a b l e sl ing, from w i t h i n it is a b i rd . B r a m b l e s t e a r it a n d b l ackbe r r i e s s t a i n i t p u r p l e a n d it c r e d i t s t h e b u s h e s a s t h e s i n g u l a r s o u r c e of i t s b u b b l i n g wi th l ight . It c a n n o t b e k n o w n w h a t h a s . h a p p e n e d to it s ince I d iscovered it.

T h e doe be tween two l e a p s l ikes to look a t m e . I k e e p h e r c o m p a n y in t h e c lear ing . I fall slowly from t h e h e i g h t s , I only weigh n o w t h e a m o u n t y o u a r e left a f t e r a h u n d r e d - t h o u s a n d foot d r o p . T h e s w i t c h e d ^ f f c h a n d e l i e r t h a t l i gh t s m e b a r e s i t s t e e t h w h e n I c a r e s s b r e a s t s w h i c h I did n o t choose . T h e y a r e p ierced by g r e a t d e a d b r a n c h e s . T h e va lves t h a t o p e n a n d close in a h e a r t w h i c h is n o t m i n e b u t is m y h e a r t , a r e t h e m o s t u s e l e s s t h e m e o n e cou ld s i n g t o a two b e a t r h y t h m : I c r y o u t , h o o n e h e a r s me , I d r eam.

T h i s d e s e r t is a fake. T h e s h a d o w s I dig le t c o l o u r s s h o w t h r o u g h l ike s o m a n y u s e l e s s s e c r e t s .

I will, they say, see. I will, they see, hea r . Si lence a s far a s - t h e eye c a n s ee is t h e keyboa rd t h a t s t a r t s

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wi th t h e s e twen ty fingers t h a t a re no t . My m o t h e r is a s p i n n i n g t o p for wh ich my fa ther is t h e whip .

To s e d u c e t h e w e a t h e r I a m d e c k e d o u t w i t h sh ivers , m y b o d y r e t u r n i n g to itself. Ohl to h a v e a b a t h , a R o m a n b a t h , a b a t h of s a n d , a b a t h of a s s ' s s and l To live a s o n e m u s t k n o w h o w to t ie one ' s ve ins in t h e b a t h ! Oh , to t ravel o n jellyfish b a c k , s k i m m i n g t h e s u r f a c e a n d t h e n p l u n g i n g i n t o t h e d e p t h s ; t o h a v e t h e a p p e t i t e of b l ind fish, b l ind fish t h a t h a v e t h e appe t i t e of b i r d s wh ich s c r e a m a t life! Have b i r d s b e e n h e a r d s ing ing a r o u n d four in t h e a f t e rnoon in April? T h o s e b i r d s a r e m a d . It is I. H a s t h e s u n b e e n s een covering t h e n igh t wi th i t s dead weight , a s a fire covers c i n d e r s ? Fo r s u n s I h a v e t h e m o v e m e n t from flame to s m o k e , t h e p a n i c k y m o a n i n g of a h u n t e d b e a s t a n d t h e first d r o p of r a i n before a shower .

Beware ! I a m expec ted . Day a n d n i g h t will b e wai t ing a t t h e s t a t ion . I sha l l never recognise t h e m if I a m weighed d o w n wi th t h e baggage of ju s t i ce .

BIRTH "f

h e c a l c u l a t i o n of p r o b a b i l i t e s c o u l d

^ H H H F b e c o n f u s e d w i t h t h e ch i ld , b l a c k a s ^ B ^ ^ P t h e fuse of a b o m b la id in t h e p a t h of ^ B ^ ^ K p a s o v e r e i g n ( t he m a n ) b y t h e w o r s t

W ^ m 9 k i n d of i n d i v i d u a l i s t a n a r c h i s t ( t h e woman) . A p a r t from th is , b i r t h is j u s t a r o u n d a b o u t . P u t t i n g t h i s k i n d of h a l o o n t h e s o n of m a n a n d w o m a n h a s n o c h a n c e of m a k i n g t h e r a t t y n a p p i e s t h e y h a v e p r e p a r e d for h i m s e e m l e s s ins ip id , or t h e sewer- l ike c r a d l e i n to w h i c h h e i s t i p p e d w i t h t h e d i r ty w a t e r a n d t h e s a l t of s t u p i d i t y w h i c h k e p t people wa i t i ng for h i s coming l ike t h e c o m i n g of a n obed ien t phoen ix .

T h e i r n e i g h b o u r m a i n t a i n s h e i s m a d e in t h e image of a n o p e n fire, h i s wife t h a t h e c a n b e s t b e c o m p a r e d to a e r o p l a n e air , a n d t h e d e g e n e r a t e fairy w h o h a s c o m e to live in t h e cellar is inc l ined to t h i n k h e is d e s c e n d e d from p o i n t e d g y p s u m c r y s t a l s w i th one foot o n id leness a n d t h e o the r o n work . H e k e e p s h i s p romise s to all of t h e m . They all w a n t to l e a r n h i s filial t o n g u e a n d t h e y i n t e r p r e t h i s s i l e n c e .

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E v e r y w h e r e t h e y s a y t h a t h e f a v o u r s w i t h h i s p r e s e n c e a wor ld t h a t cou ld n o longer d o w i t h o u t h i m . H e is t h e s i g n a l m a n o n al l fours , t h e o n e w h o c a n b e relied on to c a u s e a dera i lment wi th a view of a b r i d g e a s c e l e b r a t e d in t h e I l l u s t r a t e d News . H e w e a r s t h e lifebelt on a c h a i n r o u n d h i s neck . "Dad" i s a m o o n - s h a p e d disc , "Mum" is n o w a s c o n c a v e a s t h e c rockery .

To s u s p e n d t h e effect of a p r e s e n c e a s o b s t i n a t e a s t h a t of t h e b r a s s v a s e o n t h e s a l t p e t r e man te lp i ece , a r a y of h o n e y c o m e s to do i t s h a i r in t h e b e d r o o m . All t h e u s u a l p o l i t e n e s s h a s p r o v e d u s e l e s s . T h e r e is nobody he re . T h e r e neve r h a s b e e n a n y o n e he re .

LIFE

r o m t h e J a p a n e s e f lower t o ' t h e ^ ^ 0 ^ L g a l v a n i s e d f r o g ' s l e g , a l o t of ^ B ^ ^ s l e e p i n g will b e n e e d e d to t a k e in al l ^ ^ L J p t h e c h a n g e s . F r o m t h e d o o r w h i c h is a

^ ^ ^ wres t l ing c l inch to t h e w i n d o w w h i c h i s a brawl , t h e floor i s a p a r r o t a n d t h e ceil ing a c row w h i c h h a s h a d a fright.

T h e r e i s stil l t h e m e m o r y of t h e d a y to come , t h e m e m o r y of a t roc ious a d v e n t u r e s i n a fog fit for a h a n g e d m a n . He k n o w s h e h a s b e e n g r a s s e d on* a n d t h a t from n o w o n h e is s u r r o u n d e d b y a g u a r d - r a i l t o p reven t h i m h u r l i n g h imsel f in to t h e u s e l e s s clock w h i c h h a s s t a r t e d to s t r i ke t h e h o u r s . T h e d a w n of filtered evening r e m i n d s h i m of c l ean flesh w h i c h a t t h e a p p r o a c h of t h e m a n a lways ' v a n i s h e s w i t h a s o u n d of r eeds . For h e will t o u c h t h e flesh for a long t i m e w i t h o u t feeling it, a n d w h e n h e d o e s feel it, h e will do s o l ike t h o s e c h a r m i n g b e a s t s w h i c h d r e a m only of l iberty.

A who le n e t w o r k of g r i m a c e s a n d c o n t o r t i o n s o p p o s e s t h e raft of h i s age r e t u r n i n g to t h e s e c r e t s p r i n g s of h i s h e a r t . The^evening s h u t s t h e d o o r in vain , a r o a d of footsteps, no i ses , h o p e a n d t i r e d n e s s a lways s h o w s h i m t h o s e v a s t b l a c k b u i l d i n g s w h e r e everyth ing t a k e s s h a p e for h im .

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G r a d u a l l y t h e v a g u e r e p l a c e s t h e de f in i t e . B lo t t ing p a p e r s p r e a d s i n s t e a d of b lood, t h e s a m e p a p e r t h a t b l o t s h i s l e t t e r s w h i c h a r e s t i l l obsess ive ly p o s t m a r k e d C r e u s o t . P u r e eyes of c l o u d se t t l e o n h i m a s a b i r d l a n d s o n i t s s h a d o w . W i t h t h e i r s t o n e s k i r t s l a m p s s w e e p t h e s i lver s t a i r c a s e w h i c h l e a d s t o t h e o p e n a i r of w i n d o w l e s s l a n d s . S o w h a t is t h i s m a n seek ing w h o s t a i n s t h e e a r t h ? Triis p o o r l a m p - s h a d e is t h e r e , o n t h e l a m p of s h o o t i n g s t a r s . I t s t rugg les w i t h t h e del ica te s h a d o w .which, i n i t s folds, h a t c h e s m o o r - h e n ' s eggs, from w h i c h a t a l a te h o u r du ty , c h a n c e , little p l e a s u r e s , a n d j u m b l e will b e b o m , T h e powers of d e s p a i r wi th t he i r r o s e s of s o a p , t h e i r m i s p l a c e d c a r e s s e s , t h e i r i l l - d r e s s e d d i g n i t y , a n d t h e i r m o v i n g a n s w e r s t o g r a n i t e q u e s t i o n s , t a k e ho ld of h i m . T h e y lead h i m to t h e s c h o o l of s lag , af ter r igging h i m o u t i n a n a p r o n of fire. They convince h i m t h a t t h e wi tches ' b r o o m s t i c k p r i c k s right, in to a g r o t e s q u e e te rn i ty of br i l l iant ly lit b a c k s i d e s . Above all t h e y y a w n i n h i s face, a n d t h e m o s t t r a g i c t h i n g is t h a t t h e y h i r e h i m w o m a n w i t h o u t even t r o u b l i n g to p u t a h a n d ove r h e r m o u t h , , t h e y h i r e h i m t h e f ru i t s of w o m a n w i t h a sme l l of b i t t e r a l m o n d s , t h e y h i r e h i m ; b e a u t y , t h e y h i r e h i m t h e p a s s i n g of t ime , t h e y h i r e h i m t h e refusal of t h a t b e a u t y a n d t h a t t ime.

O n e m o r n i n g h e i s t h e r e , w a t c h i n g t h e b r e a t h i n g of a h e a d of h a i r of a n e m o n e flowers. T h e s t r e e t s a y s ha l lo wi th all i t s whee l s . Of all t h e s t a r s t h i s one . . . of all t h e s t a r s . . . t h e o n e w h i c h s u b m i t s to t h a t unforge t tab le s ta r . . . He i s s o perfectly a l o n e t h a t

41

•w> i« excepted from t h e whole. He w a t c h e s t h e s p i n e s rf £ o k s b e c o m i n g r o u n d e d . He l i s t ens to t h e m u s i c * w s h i n e s o n h i s s h o e s . At n o o n , s o m e t i m e s , h e « n £ e s twelve t i m e s . H e s m i l e s a g a i n a t n i g h t w h e n I i e i s s c a r e d . O n t o al l h i s s e n s a t i o n s h e s l i p s t h e b a n d c u i f e o f a s m i l e .

DEATH

m o i r e c lo th of c o u n t r y s i d e c o n c e a l s a b l a z e of i n s e c t s i n i t s w e a v e . T h e fe r re t p a s s e s f rom h a n d t o h a n d i n t h e form of a s c o r p i o n i n to t h e ee lpo t of w i c k e d n e s s . C o m e , l i t t l e

u n t r a n s l a t a b l e flower, t h i s w a y {it hides). Hey the re ! driver (he gets out of his seat and runs away). Wai t , I d id r e m e m b e r a n a m e . . . A spadefu l of d i a m o n d s for whoever b r ings m e b a c k t h e dog t h a t I once was !

A n d I h a v e n o t f o r g o t t e n any th ing . T h e r e is stil l o n e bo t t le of b lood for a n y o n e w h o will u n d e r t a k e to live wi th t h e images I did h o t wan t .

I a m feeling horr ib ly be t te r . T h e va in w o r d s t h a t h a d b e e n p u t in to m y m o u t h a r e b e g i n n i n g t o h a v e a n effect. My fellow m e n a r e leav ing m e . W i t h m y h a n d in t h e l ion 's m a n e , I s ee t h e decep t ive hor izon t h a t will lie to m e o n e l a s t time. I t a k e a d v a n t a g e of everything, even i t s lies in t h e form of pee l ings , a n d t h e little w a l k i t t a k e s w h e n it a lways goes p a s t m y h o m e . Nothing s e rves m e s o well a s w h e n it m e e t s me.

B u t still , w h a t a silly e x a m ! 1 c o u l d h a v e got t h r o u g h i t if I h a d to, w e r e it n o t for t h a t l i t t le h is tory ques t ion . How lucky I w a s n o t a cand ida t e .

My t r a v e l s h a v e a lways t a k e n m e too far. T h e ce r t a in ty of a r r iv ing h a s neve r s e e m e d m o r e to m e

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t h a n t h e h u n d r e d t h ring o n t h e bel l a t a d o o r t h a t d o e s n o t open.

E v e n s u f f e r i n g w a s h a u n t e d . W h e n t h a t w o m a n w i t h a b o d y s t r i p e d l ike a Vene t i an b l i n d c a m e to go s ta le o n my bed, I real ised I m u s t b e cold. I w a s cold. B u t y o u t h s tood wa tch : in fact I h a d h a r d l y suffered. I m u s t confess t h a t I k e p t h e r h e a d o n m y c h e s t . T h a t b r i g h t n e s s over t h e r e is h e r n o c t u r n a l form w h i c h c a n n o t d i s a p p e a r a n d w h i c h s u s t a i n s t h e n i g h t a n d s e a r c h e s t h r o u g h t h e light w h e r e I a m no t .

A s it is, t h e well is all o n t h e surface; T h e c u r l .of s u m m e r in t h e h a i r of s p r i n g t i m e expla ined to m e a t l e n g t h w h a t promise m e a n s . T h e b e a s t l y r a i n b o r e o n i t s a n t e n n a e p r o g r e s s w h i c h l imps t h r o u g h t h e s p r a y . T h e r a i n s t i l l s i n g s of t h e t i g h t - l i p p e d , t h r e a t e n i n g w h i m w h i c h leaves every th ing to p e r i s h . T h e s o u n d of its voice is a scar .

Here is t h e grea t b lea t ing s q u a r e . T h e s h e e p a r e arr iving a t full speed, on stilts.

r

T H E P O S S E S S I O N S

The authors particularly wish to stress the sincerity of the present undertaking which ^consists of submitting the five essays that follow to the consideration of both specialists and laymen. The slightest suggestion of any- borrowing from clinical texts or of pastiche, skilful or otherwise, of such texts, would of course be enough to make these pieces both poindess and wholly ineffective., *,, 4

We are not simply succombing here to a taste for the exotic by trustfully taking up,\ one after another, various languages which are thought, rightly or wrongly, to be entirely inadequate for their purpose. We were not content to.find in them even an authentic effect of quaintness, but on the contrary aim to prove that the mind of a normal person when p o e t i c a l l y primed, is capable of reproducing the main features of the most paradoxical and eccentric verbal expressions, and that it is possible for such a mind to assume at will the characteristic ideas of delirium without suffering, any lasting disturbance,, or. compromising in any way its own f a c u l t y for mental equilibrium. There was jiever any question of pre-judging the total

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T

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plausibility of these assumed mental states, the important thing being that people should be aware that, given a small amount of practice, they could be made perfectly plausible. That would mean discarding those arrogant categories in which people so easily slot those who have had a bone to pick with human reason — reason after all denies us day in and day out the right to express ourselves by means that are instinctive to us. If I can successively cause the richest person in the world, and the poorest, the blind and the hallucinated, the most fearful and the most aggressive all to speak^through my own mouth, how can I accept that this voice, which is after all mine alone, .comes to me from regions that are even temporarily condemned, regions to which I, like most of mankind, must despair of ever gaining access?

Besides this, we are happy to allow these pages, which were composed with a certain intent to cause confusion, to be compared with the other pages in this book and others defined as Surrealist Since the concept of "simulation" in mental treatment is used almost exclusively in war time, and is otherwise replaced by -the term "supersimulation," we are impatient to learn what morbid basis the judges who deal with these matters will attribute to our work.

We declare, however, that we have particularly enjoyed this new exercise of our mental faculties. Through, it we^ have become aware in ourselves of resources which*could not previously have been suspected; Without belittling the breakthroughs-it

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presages in relation to the highest level of liberty, we consider it a remarkable criterion with regard to modern poetics, Suffice it to say that we would be keen to see this activity widely practiced and that to our eyes the "attempted simulation" of disorders which are generally put behind bars, could with advantage replace the ballad, the sonnet, the epic, the goobledygook poem, and other outdated genres.

ATTEMPTED SIMULATION O F MENTAL DEBILITY

^ ^ ^ ^ m o n g a l l m e n , a t t h e a g e of t w e n t y ^ H ^ V four , I r e a l i s e d t h a t to r i s e t o t h e

^Wi ^ k p o s i t i o n of a r e s p e c t e d m a n o n e n e e d V B H h a v e n o m o r e c o n s c i o u s n e s s .of o n e ' s

~~ T o w n v a l u e t h a n I h a d . I m a i n t a i n e d a

long t i m e ago t h a t v i r tue i s n o t app rec i a t ed , b u t t h a t m y f a the r w a s r i g h t w h e n h e w a n t e d m e to r a i s e myself h i g h above h i s c o n t e m p o r a r i e s . I u t t e r l y fail to see w h y t h e y s h o u l d give t h e Legion of H o n o u r to foreign p e r s o n a l i t i e s p a s s i n g t h r o u g h F r a n c e . I* feel t h a t t h i s d e c o r a t i o n s h o u l d b e r e s e r v e d for officers w h o h a v e d o n e d e e d s of va lour a n d min ing eng inee r s w h o g r a d u a t e f rom t h e P o l y t e c h n i q u e . In fact t h e g r a n d m a s t e r of t h e O r d e r of Chivalry m u s t . b e s h o r t of c o m m o n s e n s e if h e r ecogn i ses m e r i t ' w h e r e t h e r e is none . Of all d i s t inc t ions , t h a t of officer is t h e m o s t flattering. B u t o n e c a n n o t do w i t h o u t a d ip loma . My fa ther gave h i s five ch i ldren , boys and-gir ls , . the b e s t e d u c a t i o n a n d a good u p b r i n g i n g . A n d n o t s o t h a t t h e y w o u l d a c c e p t a b a r e l y - r e m u n e r a t e d j o b in a n

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a d m i n i s t r a t i o n w h i c h d o e s n o t p a y . And t h e proof i s t h a t w h e n s o m e o n e is capab le , l ike m y e lder b ro the r , w h o h a s a s s i s t ed o n severa l occas ions in t h e p a p e r s , of s c o r i n g a bu l l s eye a g a i n s t b a c h e l o r s of a r t s a n d b a c h e l o r s of sc ience , y o u c a n s a y y o u h a v e s o m e o n e t o t a k e after . B u t suff ic ient u n t o t h e d a y , a s t h e p roverb goes.

In t h e i n s i d e p o c k e t of m y s u m m e r j a c k e t I h a v e t h e p l a n s ' o f a s u b m a r i n e t h a t T w i s h to offer t o t h e M i n i s t r y of Defence . T h e c a p t a i n ' s c a b i n i s d r a w n i n red i n k a n d t h e t o r p e d o c a n n o n s a r e t h e l a t e s t h y d r a u l i c m o d e l , w i t h a r t e s i a n c o n t r o l . Cycl ing c h a m p s d o not"*show g r e a t e r ene rgy t h a n m e . I m a k e n o b o n e s a b o u t m y firm convic t ion t h a t t h i s i n v e n t i o n m u s t b e a s u c c e s s . E v e r y o n e i s - a s u p p o r t e r of Liberty, E q u a l i t y a n d F ra t e rn i ty , a n d , m a y I a d d , m u t u a l Sol idar i ty . B u t t h a t i s n o r e a s o n n o t t o defend ourse lves a g a i n s t a t t a c k from t h e s e a : I h a v e w r i t t e n a s e c r e t l e t t e r o n ve l lum p a p e r t o t h e P r e s i d e n t of t h e Republ ic , r e q u e s t i n g to see. h im . T h e M e d i t e r r a n e a n S q u a d r o n is r i g h t now" c r u i s i n g off C o n s t a n t i n a , b u t t h e a d m i r a l i s giving t oo m u c h leave . However h u m b l y a so ld ie r k n e e l s before h i s C O . , o r d e r s a r e o rde r s . Disc ip l ine is b e s t w h e n t h e l e a d e r is j u s t , b u t firm. S t r i p e s a r e n o t awarded" a t r a n d o m a n d M a r e c h a l F o c h t h o r o u g h l y d e s e r v e d t o b e M a r e c h a l Foch . Free t h i n k i n g m a d e t h e m i s t a k e of n o t devot ing itself to t h e service of F rance .

I a l s o feel s t rong ly t h a t a n o t h e r n a m e ^ s h o u l d b e f o u n d for t h e M a r i n e I n f a n t r y , I h a v e a l s o a p p r o a c h e d t h e League for t h e Righ t s of M a n in t h i s

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r e g a r d . T h e n a m e i s u n w o r t h y of t h e i r s a i l o r ' s col lars . Bes ides , i t is u p to t h e m to m a k e t h e m s e l v e s r e s p e c t e d . T h e Greece of L a c e d a i m o n w a s m a d e of s t e r n e r s tuff . Sti l l , m a n be l ieves i n God a n d t h e t o u g h e s t n u t s h a v e b e e n k n o w n t o a s k for e x t r e m e unc t ion , w h i c h is a s t e p in t h e right di rect ion.

ATTEMPTED SIMULATION O F ACUTE MANIA

ood m o r n i n g g e n t l e m e n , g o o d even i n g l a d i e s a n d t h e a s s e m b l e d G a s C o m p a n y . Mr P r e s i d e n t , I a m a t y o u r d i s p o s a l , I h a v e a b l a c k C h i n e s e l a n t e r n o n m y bicycle. T h e ca t , t h e dog,

m y m o t h e r a n d m y father , m y ch i ld ren , t h e eagle in h i s little ca r t , all t h e s e poor s p e c i m e n s h a v e b e e n p u t i n to t h e w a g o n w h o s e h i n g e s t u r n a n d t u r n , a n d t u r n . F r o m o n e br idge to t h e nex t t h e need le s fall like s o m a n y s a b r e s l a s h e s . T h e ceme te ry Is a t t h e e n d of t h e village c lose to t h e s ta te ly cot tage. -None of w h i c h helps , t o re-forge family l i nks in t i m e s of famine .

Coque t t e s ' cockra-doodle-do ' s enl iven t h e l ines o n t h e wr i te r ' s page . L a m a r t i n e i s t h e r e w h o lay in a flag o n t h e g u n r c a r r i a g e a t t h e r e a r of a h a r e r u n n i n g a t h igh speed , Baza ine is t h e r e w h o w e n t to r e n d e r S e d a n u n t o C a e s a r . B u t you , m y fellow, a r e n o t the re ; y o u a r e ho ld ing a wa te r ing can , y o u : h a v e los t a leg, w h i c h m a k e s two legs I h a v e j a m m e d in J a n u a r y . In J u n e I co l lec t j u i c e . In 1 9 3 0 I h a v e a pr iva te income.

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Suffering s u n s t r o k e a t t h e t o p of t h e sky , t h e P a r i s i a n e n d s u p c a s t i n g a n e t of d u c k s . No o n e s h o u t s help , b u t ha lo a n d dignity is t h e be t t e r for it. I h a v e foolproof w a y s of co l l ec t ing t h e c r e a t u r e ' s s t r a w . A m a s s e u r gave m e a m a s s i v e cudgel . So a s to r e - r e a d t h e m b y t h e fireside I k e e p by m e t h e w o r k s of t h e T i t ans a n d T a n t a l u s e s . I d o n o t need to inc lude t h e m in t h e inven to ry of m y inven t ions . P a i n t i n g i s p r o m o t i n g i t se l f*I r e s p e c t Mr. C o u r b e t , Mr. I n g r e s g ives m e s o r b e t . S c y t h e s in m y eyes ec l ip se t h e b r e a s t p l a t e . O n t h i s po in t I wish- to notify t h e police: w e d o n o t con fo rm t o t h e p e t t y l a z i n e s s of c a r d g a m e s ; j u s t b e c a u s e we a r e h u n g from corbels, s ix ty feet u p , is n o t e n o u g h r e a s o n for u s to yell "Whoa!" a t d e a d t rees .

M a r y ' s m a r r i a g e w a s c o n s u m m a t e d a m i d a n overf low of s i g h s . T h e C o n s t r u c t o r h a d t o b e s e p a r a t e d from h i s work . He mixed too m a n y s ty le s of a r c h i t e c t u r e in t h a t c a r c a s s of b r i c k w h i c h m o w s l e a c h e s o n lovely s u m m e r evenings . T h e belly k e e p s everyth ing alive in i t s h a n d . Personal ly I like to lie o n t h e belly, provided it i s n o t a lways m y own, of cou r se . W o m e n a r e s m a l l h a n d s in Par i s , big h a n d s in t h e c o u n t r y . T h e y s w a l l o w t h e s p a r r o w s i n t h e L u x e m b o u r g g a r d e n s . I d o n o t u n d e r s t a n d e s p e r a n t o b u t , I finduthat m e s s y i n s p i r a t i o n s h o u l d b e g i n w i t h oneself . I b e t a b l a d d e r to a l a n t e r n w i t h a n u n d e r t a k e r t h a t . there is n o e te rn i ty . E te rn i ty is e t h e r a n d t h a t is all, I s t u d i e d w i th a n advoca t e w h o a d v o c a t e d : ; n e v e r c o n f e s s . T h e r e c r u i t m e n t c o m m i t t e e failed m e in m y foresight t es t .

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I w o n a h u n t i n g lodge. A ga t e of g r e e n e r y b a r s t h e b a r n from e n d to e n d : I col lect t h e b e t s . -The f a rmer h a s a h a t w h i c h I h a v e worn , it i s a p r e s e n t from t h e f a r m e r ' s wife. I n s i d e t h i s h a t t h e r e is a por t r a i t of m e wi th m y feet In t h e a i r (it is a h a t ' s eye view). T h e ch i ld ren p laying r o u n d t h e m get a smack.^ If w e we re to cu rd l e blood t h e way w e do milk, people wou ld c o m m e n t . B i s m a r c k sa id to m e t h e o t h e r day: "Take y o u r t ime, I h a v e qu i t e happ i ly t a k e n Alsace." We were h a v i n g a g la s s of c h a m p a g n e oh" t h e C h a m p d e M a r s . T h e florist w h o m o u l d s t h e flowerbeds t r a m p l e s t h e g a r d e n p a t h s . For t h e g a m e h e p u t s u p they a r e ra i s ing a gibbet .

T h e only goal I h a v e is t h e symbo l of t h e p r a y e r I a d d r e s s e a c h even ing to m y Mecca . T h e b a r b a r i a n b e g s for mercy . I t a k e m y p l e a s u r e in t h e b a r b e r e d b e a r d a s I f ind i t . S o r c e r y i s a d e b a u c h ; t h a t d e b o u c h e s n e a r t h e w o r k s , t h e good w o r k s of cha r i ty . If I l a u g h it is b e c a u s e of t h e d a w n o n m y k n e e s , w i th a beau t i fu l l ice-cap o n its. h e a d . Louise ' s s o n h a s swi t ched h i s g u n to t h e o t h e r s h o u l d e r . He k e e p s t o o n l y t h e b a r e s t m i n i m u m of m i l i t a r y obl igat ion: h i s h e l m e t . O n e migh t a s well fraternise w i th one ' s s i s te r .

I wr i te , I d r aw, I h a v e s n a p d r a g o n s , I h a v e m y wife w i th m e in b e d even w h e n I a m s t a n d i n g u p . S h e w o r k s for m e m a k i n g life. I s u c k l e h e r a s I d o h e r little o n e s w h o m L c a r e s s in t h e co rne r . T h e l i t t lest I call S t . T h o m a s , little Sa in t T h o m a s , a n d t h e big girl I ca lLSpr ing . It is very sweet . Everyone c o n g r a t u l a t e s me . I ' p u t t h e m t h r o u g h the i r first c o m m u n i o n a t . t h e

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b a r w i t h a waffle. Th i s is m y blood, I expla ined . T h e n w e a t e s a l t cod u n d e r t h e t a s s e l s o n t h e l a m p s h a d e . A n d I s e n t t h e m t o b o a r d i n g schoo l . It i s t e n y e a r s n o w s i n c e I h e a r d from t h e m . P e r h a p s t h e little girl h a s b e e n m a r r i e d a n d divorced. My m o t h e r m a r r i e d t h e S h a h of Pe r s i a , t h e y o p e n e d a l i t t le s h o p i n P a s s y , a s o r t of l e v e l - c r o s s i n g b a w d y - h o u s e for lonely m e n . T h e S h a h g e t s to t h e ca s t l e ear ly , m y m o t h e r s p a r k l e s .

I h a v e a s o n g w i th m e t h a t y o u n g gir ls love to s ing , I l end i t to t h e m . In e x c h a n g e t h e y give in to m y s a f e k e e p i n g t h e i r f i r s t p r i z e b o o k , w h i c h w a s p r e s e n t e d t o t h e m wi th a w r e a t h of d r i ed flowers. I r e fuse t o s ign t h e k i s s e s t h e y give me . I s ign t o t h e m t o b e p a t i e n t . I a m n o l o n g e r of a n a g e t o b e frightened of s t o r m s . In bed , we b e a t o u t a d u e t w i th a di t ty b y Lully, which , a s I sa id , I have never r e a d i n a bed , Paiva d o e s h e r h a i r w i th a n air , ( romance) , to t h e t u n e of t h e Widow a t t h e Window. I m a n a g e little s c r a p s of t h a n k s for t h e smi l e s t h a t s h i n e a r o u n d m e . I do n o t s t o p a t u s e l e s s p r e c a u t i o n s . I c a r ry t h e b u r d e n a s s i g n e d to m e for it is ho t , b u t m y on ly c o n c e r n is t h e n y m p h s . T h e r e is o n e w h o h i d e s a s p r i n g in h e r a rmpi t . Po t t e r s go t he r e in t h e even ing to c a t c h i ts fleeting colour .

O n e day I a s k e d myself: W h a t is t h i s key do ing i n m y p o c k e t ? So I w e n t off to Le M a n s to s e e C l e m e n c e a u . I a s k e d h im: "Do y o u k n o w w h a t t h i s key is do ing in m y pocket?" He poked m e in t h e eye a n d I h a d to s t a y in t h e C h a m b e r of D e p u t i e s for twen ty - fou r h o u r s . I w e n t off w i t h t h e lock, h a v i n g

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m a d e s u r e it w a s j u s t t h e s a m e t e m p e r a t u r e a s t h e C h a m b e r . Fea r ing t h e P res iden t migh t c loud over a s a r e s u l t of t h i s inc iden t , I h a d six t e e t h d o n e in gold, and" t o o k t h e b a l l o o n h o m e . In t h e ba l loon , I m e t G a m b e t t a . T a s k e d h i m : "Do y o u k n o w w h a t t h i s ba l loon i s do ing in t h e sky?" He t h r e w m e over t h e side, b u t m y siege h a d b e e n laid for s o m e t ime. It w a s t h e siege of Par is . I s ign t h e peace t r ea ty a n d leave to t a k e t h e b l o t t i n g p a p e r to t h e Inva l ide s . O n t h e e s p l a n a d e I m e e t Mar ie C u r i e c o m i n g b a c k from s h o p p i n g . I s a y t o h e r "Aren ' t y o u a s h a m e d of r u n n i n g a r o u n d l ike t h i s . a t y o u r age?" S h e l e n d s m e h e r h o r s e a n d t h e r e w e w e r e a t h e r r a n c h in t h e F a u b o u r g S a i n t - G e r m a i n . T h e r e w e d id e x p e r i m e n t s i n s p o n t a n e o u s g e r m i n a t i o n . I go t o n wel l w i t h P a s t e u r b u t h i s s i s t e r did all s h e could to m a k e life i m p o s s i b l e for m e . I s l ep t w i th o n e eye o p e n . O n e n i g h t t h e m a i d no t i ced t h a t I w a s m o s t skilfully w a t c h i n g h e r u n d r e s s . S h e s c r e a m e d s o l o u d t h a t everyone r a n u p a n d t h r e w themse lves a t m e to force m e to leave.

I w o u l d n o t en l i s t a n y m o r e now, a l t h o u g h wa te r l e s s rivers chopped b y t h e ra in , I will n o t p lease a n y o n e a n y m o r e , it is n o longe r I w h o a m even Ins ide m y p i g s k i n s u i t c a s e , I a m n o t h u n g r y , I a m n o t s c a r e d : far too cowardly to b e s c a r e d , too greedy to ea t . I a m t h e o n e who h a d to a m p u t a t e t h e w o m a n from t h e m a n ' s s e x o r g a n o n t h e p r e t e x t of p l a s t i c

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su rge ry . I a m m o r e finished t h a n a n episode . No o n e w o u l d t a k e t h e t r o u b l e t o give m e t roub le . I a m t h i n a s a v ine - shoo t t h a t t a k e s u m b r a g e a t i t s s ingle leaf. I a m t r u l y a n y o n e , I d r a g myse l f a r o u n d o n t h e c r u t c h e s of m y window, I s h o u l d b e s l a u g h t e r e d w i t h w h i s t l e b lows, s o m e o n e s h o u l d d o m e t h e I m m e n s e favour of s l ipping m y foot o n u n d e r t h e table .

ATTEMPTED SIMULATION O F GENERAL PARALYSIS

^ W^ J y g r e a t a d o r a b l e w o m a n b e a u t i f u l a s ^ • ^ P B i e v e r y t h i n g o n t h e e a r t h a n d in t h e ^ • L T B ^ m o s t beau t i fu l s t a r s of t h e e a r t h t h a t ^ B A M ^ B I a d o r e m y g r e a t w o m a n a d o r e d b y a l l

^ ^ ^ ^ ^ t h e p o w e r s of t h e s t a r s beau t i fu l w i t h t h e b e a u t y of t h e bi l l ions of q u e e n s t h a t a d o r n t h e e a r t h t h e a d o r a t i o n I h a v e for y o u r b e a u t y b r i n g s m e to m y k n e e s to beg y o u to t h i n k of m e I k n e e l a t y o u r k n e e s T a d o r e y o u r b e a u t y t h i n k of m e m y a d o r a b l e b e a u t y m y g r e a t b e a u t y " w h o m I a d o r e I rol l d i a m o n d s in t h e m o s s ta l le r t h a n t h e fo res t s w h e r e y o u r ta l les t h a i r t h i n k s of m e — do n o t forget m e m y li t t le w o m a n o n m y k n e e s t h a t t i m e b y t h e fireside o n t h e s a n d of e m e r a l d — look a t y o u r s e l f in m y h a n d w h i c h I u s e to s t a n d s t e a d y o n eve ry th ing in t h e world s o t h a t y o u will recognise m e for w h a t I a m m y b l o n d e - b r u n e t t e m y b e a u t y a n d m y b e a s t t h i n k of m e in p a r a d i s e wi th m y h e a d in m y h a n d s .

T h e h u n d r e d a n d fifty c a s t l e s w h e r e w e we re go ing -to m a k e love w e r e n o t e n o u g h for m e a

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h u n d r e d t h o u s a n d m o r e wil l b e b u i l t for m e t o m o r r o w I h a v e c h a s e d o u t from t h e b a o b a b fores ts of y o u r eyes t h e p e a c o c k s a n d p a n t h e r s a n d lyreb i r d s I will s h u t t h e m in m y s t r o n g h o l d s a n d w e s h a l l go w a l k i n g t o g e t h e r i n t h e fo res t s of As ia of E u r o p e of Africa a n d A m e r i c a w h i c h s u r r o u n d o u r c a s t l e s in t h e a d m i r a b l e fores ts of y o u r eyes w h i c h a r e a c c u s t o m e d to m y s p l e n d o u r .

You d o n o t h a v e to wa i t for t h e s u r p r i s e t h a t I w a n t to give y o u for y o u r b i r t h d a y w h i c h falls t o d a y t h e s a m e day a s m i n e — I a m giving it to y o u a t once s i n c e I h a v e w a i t e d fifteen t i m e s for t h e y e a r o n e t h o u s a n d before giving y o u t h e s u r p r i s e of a s k i n g y o u to p l ay h i d e - a n d - s e e k w i th y o u r t h i n k i n g of m e — I w a n t y o u to t h i n k of m e m y y o u n g e t e r n a l w o m a n whi le laughing. Before I cou ld s leep I c o u n t e d c loud u p o n cloud of ca r t s full of bee t for t h e s u n a n d I w a n t t o t a k e y o u a t n i g h t to t h e a s t r a k h a n b e a c h t h e y a r e bu i ld ing w i th two h o r i z o n s for y o u r eyes of pe t ro leum, to m a k e w a r I will lead y o u t he r e by p a t h s of d i a m o n d s w i t h e m e r a l d p r i m r o s e s a n d t h e e r m i n e m a n t l e w i th w h i c h I w i s h t o cover y o u i s a b i r d of p r e y t h e d i a m o n d s y o u r feet will t r e a d o n I h a v e h a d c u t in t h e s h a p e of but terf l ies . T h i n k of m e w h o t h i n k only of y o u r b r i l l i ance w h e r e s l u m b e r s t h e s u n - d r e n c h e d l u x u r y of a n e a r t h a n d all t h e s t a r s I h a v e c o n q u e r e d for y o u I a d o r e y o u a n d I a d o r e y o u r eyes a n d I h a v e opened y o u r eyes o p e n to al l t h o s e t h e y h a v e s e e n a n d I will give t o al l t h e b e i n g s w h o m y o u r eyes h a v e s e e n r a i m e n t of gold a n d c r y s t a l r a i m e n t t h e y will h a v e to t h r o w a w a y

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w h e n y o u r eyes h a v e dul led it wi th t he i r c o n t e m p t . I b l eed in m y h e a r t a t t h e m e r e in i t ia ls of y o u r n a m e o n a flag w i th t h e ini t ia ls of y o u r n a m e w h i c h a r e al l t h e l e t t e r s of w h i c h Z is t h e first i n t h e infinity of a l p h a b e t s a n d civi l isat ions w h e r e I will love y o u ye t s i n c e y o u w i s h to b e my wife a n d t o t h i n k of m e in t h e c o u n t r i e s w h e r e t h e r e is n o longe r a n average . My h e a r t b l e e d s o n y o u r m o u t h a n d c loses o n y o u r m o u t h o n all t h e p i n k c h e s t n u t t r ees of t h e a v e n u e of y o u r m o u t h d o w n wh ich we go in t h e s p a r k l i n g d u s t to lie a m o n g t h e m e t e o r s of y o u r b e a u t y w h i c h I ado re m y g rea t c r e a t u r e so beaut i fu l t h a t I a m h a p p y to a d o r n m y t r e a s u r e s w i t h y o u r p r e s e n c e w i t h t h o u g h t s of y o u a n d w i t h y o u r n a m e w h i c h mul t ip l i es t h e facets of m y t r e a s u r e s ' e c s t a s y w h i c h I a d o r e b e c a u s e it finds a n e c h o in al l t h e looking g l a s s e s of m y s p l e n d o u r m y o r ig ina l w o m a n m y scaffolding of rosewood you a r e t h e faul t of m y fault of m y very g r e a t faul t a s J e s u s C h r i s t is t h e wife of m y c r o s s — twelve t i m e s twelve t h o u s a n d o n e h u n d r e d a n d for ty-nine t i m e s h a v e I loved y o u w i th p a s s i o n o n t h e w a y a n d I a m crucif ied in t h e Nor th i n t h e E a s t in t h e W e s t a n d in t h e N o r t h for y o u r r a d i u m k i s s a n d I w a n t y o u a n d y o u a r e in m y m i r r o r of p e a r l s t h e b r e a t h of t h e m a n w h o will n o t r e t u r n y o u t o t h e s u r f a c e a n d w h o loves y o u in a d o r a t i o n m y w o m a n lying s t a n d i n g w h e n y o u a r e s i t t ing a n d c o m b i n g y o u r ha i r .

You will come you t h i n k of m e y o u will come you will r u n to m e o n y o u r t h i r t e e n full legs a n d all y o u r e m p t y legs t h a t b e a t t h e a i r wi th t h e sway ing of y o u r

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a r m s a m u l t i t u d e of a r m s t h a t w a n t to c l a s p t h e m s e l v e s a r o u n d m e k n e e l i n g b e t w e e n y o u r legs a n d y o u r a r m s to c l a s p y o u w i t h o u t fear t h a t m y locomot ives will p r e v e n t y o u from c o m i n g t o m e ar id I follow y o u a n d I a m a h e a d of you to s top y o u to give y o u a l l ' t h e s t a r s in t h e s k y in a k i s s o n y o u r eyes al l t h e k i s s e s in t h e world in a s t a r o n y o u r m o u t h .

Yours , sweetly aflame.

P .S . I s h o u l d l ike a p h o n e b o o k for m a s s a p h o n e b o o k w i th a k n o t t e d s t r i ng t o m a r k t h e pages . Br ing m e a F r a n c o - G e r m a n flag, too, so I c a n fly it in rio-man's-land. Arid a p o u n d of Men ie r c h o c o l a t e w i t h t h e l i t t le girl s t i c k i n g u p p o s t e r s (I d o n o t r e m e m b e r ) . And. t h e n n i n e of t h o s e l i t t le gir ls too w i t h t he i r l awyers arid t he i r j u d g e s a n d c o m e on - the s p e c i a l t r a i n w i th t h e s p e e d of l ight a n d t h e Wild W e s t o u t l a w s w h o will keep m e a m u s e d for a m i n u t e w h i c h u n f o r t u n a t e l y p o p s h e r e l ike a- c h a m p a g n e cork . A n d a s k a t e . My left s u s p e n d e r h a s j u s t gone I w a s lifting u p t h e wor ld l ike a fea ther . C a n y o u d o s o m e t h i n g Tor m e b u y a t a n k I w a n t to see y o u c o m e like t h e fairies.

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^ B M % ^ f l ike a b i rd o n a b r a n c h . I w a s n o longer 4 ^ H \ *W a n y u s e for a n y t h i n g . N e v e r t h e l e s s I ^ ^ • • ^ o b s e r v e d t h a t t h e p a t c h e s of oil o n ^ ^ ^ ^ ^ ^ t h e w a t e r re f lec ted m y i m a g e a n d I no t iced t h a t t h e P o n t a u Change , w h i c h h a s t h e b i rd m a r k e t n e x t to it , w a s b e c o m i n g m o r e a n d more ,

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forever t o t h e o t h e r s ide of t h e r a i n b o w b y d i n t of w a t c h i n g i r i de scen t b i rds . Now I h a v e n o t h i n g t o d o w i t h t h e g r o u n d . No m o r e t h a n a n y o t h e r b i rd , I say, d o I n e e d ' a n y m o r e t o d e m e a n mysel f o n t h e g r o u n d , t o p u t i n a w i n g e d a p p e a r a n c e o n t h e g r o u n d . I re fuse to s i n g a long w i th y o u t h e lu r id di t ty: "We die for t h e little b i rds , give a feast to y o u r little b i rds ."

T h e g a u d y c o l o u r s of t h e r a i n s h o w e r p r a t t l e pa r ro t . T h e y coddle t h e wind wh ich h a t c h e s o u t wi th s e e d s in i t s eyes . T h e d o u b l e eyelid of t h e s u n rises a n d falls o n life. T h e b i rds ' feet o n t h e w i n d o w p a n e of t h e s k y a r e w h a t I u s e d to call s t a r s . T h e e a r t h itself, w h o s e m o t i o n s e e m s s o inexpl icab le a s long a s o n e

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r e m a i n s b e n e a t h t h e v a u l t , t h e e a r t h t h a t i s webfooted wi th d e s e r t s is itself sub j ec t to t h e l aws of m i g r a t i o n .

T h e fea the r s u m m e r i s n o t over ye t . T h e h o l d s h a v e b e e n o p e n e d a n d h a r v e s t s of d o w n a r e b e i n g stuffed i n t o t h e m . T h e w e a t h e r is moulting.

T h e c o c k o n t h e s t e e p l e a d o r n s t h e gunf i r e s m o k e whi le t h e o r a n g e - b r e a s t e d widow m a k e s h e r w a y t o t h e c e m e t e r y w h o s e c r o s s e s a r e t h e t i n y f l a s h e s of ' S e n e g a l e s e D i a m o n d s w h i l e m a n c o n t i n u e s to believe h imse l f u p o n t h e e a r t h l ike a b lackb i rd o n a buffalo's back , u p o n t h e s e a like a gu lT o n t h e c res t of t h e waves; t h e b lackb i rd solid a n d t h e seagul l liquid. i

H o r u s , w i t h a f i nge r t o h i s l ip s , i s t h e a v a l a n c h e . I h a d n o t s e e n t h o s e b i r d c a t c h e r s w h o s e a r c h for m e n in t h e s k y a n d dr ive e a c h o t h e r from t h e i r n e s t s wi th s t o n e s t h e y t h r o w in to t h e air .

P h o e n i x e s c o m e b r i n g i n g m e m y food^ of glow w o r m s a n d the i r w i n g s w h i c h cea se l e s s ly d i p i n t o t h e ' g o l d of t h e e a r t h a r e t h e s e a a n d t h e s k y w h i c h w e only u s e d t o s ee aglow o n s t o r m y d a y s a n d w h i c h h i d e t h e i r t h u n d e r b o l t p l u m e s a m o n g t he i r . f e a the r s w h e n t h e y fall a s l eep o n t h e single foot of t h e air. *

T h e mil ls of l igh tn ing h a v e b r o k e n the i r she l l s and . f lee a s fast a s t he i r w ings will ca r ry t h e m , s a n d e a t s d u n e s , t h e ho r i zon i s t ry ing to k e e p o u t of t h e w a y of c louds .

You will ag ree t h a t y o u r drop-sided cots, a n d y o u r twis ted b a r s , a n d y o u r g n a w e d floors, a n d y o u r n u t m e g s , a n d y o u r s ca r ec rows in t h e l a t es t fashion,

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a n d y o u r telegraph wires, a n d y o u r J o u r n e y s i n p i g e o n c l a s s c o m p a r t m e n t s , a n d t h e l a m b s t h a t form t h e p l i n t h s of y o u r s t a t u e s of p rey , a n d y o u r hurdle races r u n a t d u s k w i t h r o b i n s t h a t fly away , a n d t h e h o u r s , a n d t h e m i n u t e s , a n d t h e s e c o n d s in y o u r w o o d p e c k e r h e a d s , a n d y o u r g l o r i o u s c o n q u e s t s , yes , y o u r glor ious cuckoo- l ike c o n q u e s t s ! All t h e s e s n a r e s of g race w e r e only ever t h e r e t o ge t m e t h r o u g h t h e g a t e s of d a n g e r , t h e g a t e s t h a t s e p a r a t e fear from courage . Do n o t c o u n t a n y m o r e o n m e to h e l p y o u forget t h a t y o u r g h o s t s a r e decked o u t like b i r d s of pa rad i se .

I n t h e b e g i n n i n g w a s s o n g . E v e r y o n e t o t h e windows! F r o m o n e s ide to t h e o t h e r y o u s ee n o t h i n g n o w b u t Leda . My w h i r l i n g w i n g s a r e t h e d o o r s t h r o u g h w h i c h s h e e n t e r s t h e s w a n ' s n e c k , o n t h e g r e a t d e s e r t e d s q u a r e t h a t is t h e h e a r t of t h e b i rd of n i g h t .

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^ H l ^ l f t l eave h e r e w i t h o u t a n y o n e h a v i n g a ^ V f i | ^ V c l e a r i d e a b e c a u s e i t i s a b i t m o r e

^ ^ t h a n n o o n h e r e whi le leaving t h e l a u g h t h r o u g h t h e t e e t h w h i c h r e t r e a t s a c r o s s t h e p a l a t e of t h e D a n a i d s w h i c h I c a r e s s w i t h m y t o n g u e w i t h o u t t h i n k i n g t h a t t h e d a y of God h a s a r r ived m u s i c forward of t h e little girls w e e p i n g s e e d s w h o m o n e w a t c h e s w i t h o u t see ing t h e m w e e p b y t h e h a n d of t h e G r a c e s o n t h e . four th floor w i n d o w w i t h t h e c a t ' s m i g n o n e t t e w h i c h t h e c a t a p u l t t o o k from b e h i n d o n a ho l i day . Whi le b o u l a n g i n g w i t h t h e G e n e r a l of T h e r m o p y l a e l a u n c h e d o n a t r icycle a n d r e d t o perce ive . T h e t u b is l i s ted i n t h e s k y b y t h e Vi rg in i m m o b i l e i n h e r b a r r e l . G o d m a k e s m e t o n g u e s w i th t h e b r e a d . I m i n n o w t h e m o u n t a i n s . In t h e t h o u g h t of m y t h o u g h t is t h e g r e a t h o u s e w i th l a b o u r i n g h o u s e s i n t h e h o u s e of h u m a n s k i n ' w i t h a b a l c o n y of<seals. T h e o r d i n a r y i s s u p r e m e t h o u g h

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t h e r e is a little a w k w a r d n e s s in t h e mi lk of ovat ion a n d evoca t ion . It I s t h e r e w i t h i t s u d d e r - l i k e eyes , I p a s s it in to shoo t ing t a rge t s . I h a v e sa id t h r e e w o r d s too m a n y , too b a d , I t a k e t h e m b a c k , I a d d t h e m . I h a v e s e v e r a l t i m e s d e s e r v e d d e a t h , e spec ia l ly in Greece , w h e r e I s a w e d u p t h e p a l e t t e of a n old m a n w h o s t a l k e d m y l ady f r iends right u p to m y c a m p b e d . I m e s s e d u p t h e h a i r d o of t h e g r ea t e s t c r imina l in C h a l d e a . For all t h a t I d id n o t h a v e to m a k e u s e of m y d a u g h t e r na t ive to t h e lower p a r t s of h e r fa ther ' s vision, all t h e p l a i n s a s far a s t h e eye c a n s e e w h i c h e a t h a m p e r s full of mothe r -o f -pea r l . P l a t i n u m , y o u c a n n o l o n g e r s t a n d u p s i n c e t h e t r u m p e t of l o u n g i n g s h o o k y o u r e te rn i ty . Pa le s t a r , little h u t in t h e w o o d e n m o n k e y w h i c h I a m s m o t h e r i n g , y o u fall from t h e c louds , y o u r e t r e a t before t h e forty w ays of u s i n g m y cruel ty .

W h e n I w a s y o u n g I h id Hercu l e s in t h e p o c k e t of m y s a i l o r s u i t , w h e n I w a s old I r e s t o r e d h i s f r eedom b y fixing h i s r a n s o m to m y t o m b s t o n e In ricochets. He l aughed beh ind m y gag, a l augh like ivy. Later , a s I w a s early, I g e r m i n a t e d m y r i a d s of t o a d s ' eggs w h i c h c a m e from i n t e r s e c t i o n s of k a n g a r o o p a t h s a t s t a r - s h a p e d c r o s s r o a d s i n t h e b i c o r n h a t w i t h d r a w e r s of m y c h e s t w i t h leafless trefoil feet. I h a v e a s a g rea t g r a n d - d a u g h t e r Cleo de Merode, m y g r e a t g r a n d m o t h e r w h o t r ave l s pil l ion on wolf-back w i t h C h a r l e s t h e Bold. I h a v e w o n t h e j a c k p o t a mil l ion t i m e s a t rou le t t e by p laying t h e n i n e m o n t h s of t h e y e a r . I w a s expel led in t r i u m p h from all t h e fencing h a l l s b e c a u s e I w a n t e d to t a k e t h e honey . It

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w a s t h a t ve ry d a y t h a t I u n d e r s t o o d t h e s e v e n mys te r i e s of c r ea t i on . Cleo d e Merode s p e n t h e r t i m e t ry ing to wedge t h e t ab le leg wi th t h e b e s t p a r t of m y winn ings . I p u t Cleo d e Merode b e t w e e n t h e c laws of m y r ing . S h e i s qu ie t , s h e w a k e s t h e d e a d , I a m ster i l is ing all t h e facts . ITie e m b r y o c o n t i n u e s to look l ike a m o n k e y - w r e n c h , t h e d a m n e d P r o t e s t a n t h a s s t o p p e d s w a g g e r i n g . I h a v e m a d e r u l e s for t h e d e b t o r ' s p r i s o n . You h a v e to s h o w y o u r iden t i ty to ge t in a n d n o t forget a b o u t t h e g u a r d s . T h e p r i s o n roof c a r r i e s r e p u b l i c a n b u n t i n g o n ga l a d a y s . T h e re ign of t h e u s e l e s s is over. They w a n t e d to give m e a false b e a r d a n d m a k e m e p lay t h e s e p u l c h r a l role of va le t to t h e Pope. T h e y t h r e a t e n e d to ge t m e o n t h e w r o n g s i d e of t h e King of A u g u s t b u t I g r i t t ed m y t e e t h a n d told t h e m forty-eight if y o u do n o t let go of m y h a n d I will n o longer go in to t h e g r i n d e r b o x to m a k e y o u fire.

I w r o t e good in a r o u n d h a n d o n m y t r u n k a n d got mysel f enro l led a s I wa lked p a s t t h e front. T h e y p u t m e i n t h e w a g o n w i th t h e l ions b u t a s s o o n a s t h e y recogn i sed m e they were left w i th n o t h i n g b u t a da i sy m a n e . I c l ipped a t h o u s a n d l ions a s w e w e n t in t h e s p a c e for a lot w h i c h h a d b e e n left b l a n k . T h e n I j u m p e d off t h e t r a i n wh ich t ied itself in k n o t s . I h a d arr ived.

I s c a l p e d t h e a u d i e n c e . I p u t m y tool u p all t h e c h i m n e y s o n C h r i s t m a s day .

I h a v e b e e n g r a n t e d t h e t r u s t of j e a l o u s people w h o c o n s u l t m e a b o u t c r imes of p a s s i o n . It is right to d a m p e n bel ls w i th t h e pigtai ls of good sol id F r e n c h

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gir ls w h o h a v e n o t h i n g left b u t t he i r w a r d r o b e w i th a m i r r o r o n t h e b a c k . I look a t myse l f in it, codd l e myself in it a n d w h a t do we ra i se? —= a h in t of c l u m s y p i r o u e t t e s o n t h e k n e e s of a s a t i s f y i n g o ld g e n t l e m a n . Q u a r r i e s of lead-grey she-wolves . I h a v e s een it all. You have to l augh with t h e wolves.

I bel ieve in phi la te ly . I h a v e t h e a r m s of Poit iers t a t t ooed o n t h e left s ide of m y a r m w h i c h h a s a sl ip-o n cover, a n d t h e w o r d s s e peut artificially p ro long e a c h lash of m y u p p e r eyelid, whi le on e a c h of m y c h e e k s t h e first l e t t e r of oui i s r o u n d e d in m a c a b r e p i n k . Ph i l a t e ly s t a r t e d before m a n , t o w a r d s t h e b e g i n n i n g of t h e . t e r t i a ry e r a . P t e r o d a c t y l s a r e l eap ing r igh t n o w from o n e lip of m y inkwel l to t h e o the r . Wedd ing p i c t u r e s a r e riot o b s c e n e e n o u g h : t h e p r ies t s h o u l d wear a t iddler on h i s chasub le . R u b b e r s b lown u p w i th t h e per fora t ions of s t a m p s for ba l loon m a i l still bes iege o u r good town . Miss iona r i e s n e e d f resh vege tab les b e c a u s e c a n n i b a l i s m is c o n t a g i o u s a n d on ly t h e s a v a g e s a r e s u s p e c t e d . A pa r r i c ide in Africa hollowed o u t h i s eye in t h e form of a shell . T h e p ieces for t h e g a m e of c a r n a g e a re t e n t h o u s a n d agile f ingers .

I h a v e a j a z z in m y t h u m b w h i c h a l t e r n a t e s w i th a C h i n e s e m u s i c i a n in t h e na i l . I a m h a n g i n g from a loop of cher r ies . I l a u n c h e d all t h e f a sh ions of b y g o n e d a y s : t h e s k i r t w i th s p u r s , t h e w a t e r - t r a i n , t h e globe w i th a c ros s in t h e h a n d s of t h u m b s u c k i n g in fan t s . I h a v e t a s t e d all t h e foods t h a t n o o n e h a s d a r e d ye t to serve. S leepers do n o t smel l t h e s a m e a s peop l e a w a k e : if y o u w a k e t h e m u p wi th a s t a r t a

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smel l of c y c l a m e n fills t h e r o o m . I h a v e t h e h e a d of f a t h m a o n G e m i n i a n d a l e a d e n foot in Libra . T h e i m m e n s i t y of m y n a t u r e i s s p r e a d b e t w e e n two w a s p - s t i n g s h a r n e s s e d to t h e s a m e c o m p a s s a s i s c ry ing o u t for a feed from m o t h e r ' s b e a k . If i t is o n t h e lip, it m a k e s k i s s ; if i t is o n t h e b u m , it m a k e s Tibet,

I a m t h e g randfa the r , t h e fa ther , t h e fa ther - in-law, t h e b r o t h e r , t h e b ro the r - in - l aw , t h e uncles t h e s o n - i n - l a w , t h e d a u g h t e r - i n - l a w , t h e c o u s i n , t h e godfa the r , a n d t h e p a r i s h p r i e s t of t h e c u r r e n t p o p e w h o is mere ly a s p y in d isguise , a false friend in t h e serv ice of t h e a r c h d u k e s of T h u l e . H e c a n on ly b e u n m a s k e d b y s h o w i n g to t h e c r o w d t h e P a r t h i a n a r r o w s t i c k i n g i n h i s s h o u l d e r . T h u s a r e r a b b l e s welded t o g e t h e r , , t h e a d u l t e r o u s frui ts of va le t ry a n d t h e m a t t r e s s . I fear only b y e a r t h e t i m e s w i t c h in t h e ' D e p a r t m e n t s t o r e s I b u i l t b y p i l ing 3 3 , 0 0 0 she lves of s w e e t s o n t h e p e a c e t r ea t i e s . A n o t h e r pa i r of n o o d l e s o n a n o t h e r p a i r of b e i n g r i g h t w i t h o u t b e i n g t h e r e , a n o t h e r p a i r of s leeves for o t h e r a r m s o n a n o t h e r p a i r of noodles . W e will ce r ta in ly s e e w i th r e g a r d t o t h e n o o d l e in t h e t u n n e l u n d e r t h e C h a n n e l w h e t h e r a r m l e s s p e n g u i n s a n d o n e - a r m e d m e n a r e c a p a b l e of r e c o g n i s i n g m y b r a i n a s t h e G r a n d B a s t e r of t h e T h r e e Kings' Pudd ing . You h a v e to t a k e t h e lift to ge t from h i s feet to h i s h e a d via i m a g i n a t i o n b u t w h e n I s ee t h e r e p u b l i c s c o m i n g to cal l every w e e k , I s e a l m y blood p r e c i o u s l y af ter b o t t l i n g i t . T h e y o u n g m a n i s n o t y e t s o k n o w l e d g e a b l e a b o u t h i s fa te w i t h t h e c h a i r s o n

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w h i c h h e l imi t s h i m s e l f to s i t t i n g k i l ome t r i c a l l y oppos i t e h imse l f w i t h o u t m a r k i n g t ime. I a m a s t r i d e t h e s h o u l d e r s of t h r e e y o u n g gir ls w h o a r e going u p t o ge t a b e t t e r v iew to t h e t o p floor of t h e t o w e r i n w h i c h m y t h r o a t Is slit whi le I go d o w n t h e N iaga ra falls a s a fishing float, rolled in a ball , in a little boa t , in a bal l of s o u n d from t h e m e n c o n d e m n e d to d e a t h t h a t y o u n g g i r l s prefer , w h o free g i r l s f rom t h e s n a r e s t h a t a r e t he i r b r e a s t s .

I will give n o t h i n g to t h e wild b e a s t s , I sha l l s t a b t h e m to d e a t h w i th m y dagger . I a m i n h a b i t e d from b o t t o m to t o p by a pack , t h e s t a g c o m e s down , a n d t a k e s m e o n h i s b a c k , s o l ike a s l eep ing w o m a n . W h a t a r e y o u a b o u t to c l imb? T h e Se ine u n w i n d s , I ho ld t h e spool , I s p i n i t o u t o n t h e s u r f a c e of t h e w a t e r everywhere . I h a v e 2 1 , 0 0 0 e r u p t i n g vo lcanoes . I a m spil l ing fire o n every s ide . B u t I do n o t t r u s t t h e 5 0 0 billion flames wh ich I a m t r a in ing like dogs. I a m free, w h i c h I find a s t o u n d i n g o n t h e p a r t of t h e t h u n d e r a n d of m e d i c i n e w i t h s i m p l e s . I w r i t e t o l a w y e r s m y free will i n m y s o u l ar id c o n s c i e n c e w h i c h s w e a r s before t h e c o u r t to tell t h e whole t r u t h whi le i n s i s t i ng on t h e mi t iga t ing c i r c u m s t a n c e s a n d s w e a r s . B u t I s w e a r t o p u t t h e j u r y i n c l i nk for c o n d e m n i n g m e to b e free, n o n - d e n o m i n a t i o n a l , a n d c o m p u l s o r y . Not i n t h e m o n t h of J u l y b u t o n comple t ion of t h e t e r m a n d dec la red in defaul t i n all d u e l s w i t h file a n d s e t s q u a r e b y m y h i e r a r c h i c a l s u p e r i o r s w h o a r e sp l i t t ing t h e i r s ides o n e a c h s i d e of m y c h e s t . I h a v e d o n e n o t h i n g m o r e t h a n t h e rhos t o r l e s s t h a n t h e m o s t a n d I h a v e given f reedom

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to God w h o b o r e a go lden yoke w h i c h h e r e t u r n e d to m e to b e free a n d t o lead m e b y t h e h a n d in to t h e m e a d o w s of t h e golden b u t t e r c u p .

B e n e a t h t h e i r o n r o d of c o r r e g i d o r e s w h o m u t t e r a t t h e c row ' s n e c k s u r a m s of I rd ia I s p e n d t h e even ings i n j a r s b e n e a t h t h e alleys of t h e g u d d e r . B o u n d t h r o u g h glughole . I h a v e no t iced t h a t d e c e a s e i s b e n t o n b e t r a y i n g w i th a b u r s t of l a u g h t e r a n d sub jec t ing n igh t to t h e living, t h e p i n k a n d w h i t e silk of t h e r e t u r n of de lay ; r e t a r d e d e r a s u r e of r a b b l e . R a e s o n t h a h n o u r l e . I h a v e e a t e n a t F a u s t ' s t ab l e in bow ' s c u t s a n d t h e g u e s t s we re enjoined to d ip t he i r eyes in b l u e s o t h e devi lb lue t h i s p a s s i n g b l u e w h o w a s g u e s t of h o n o u r wi th o n e h a n d o n m y h a n d a n d t h e o t h e r in h i s lace. And we were s t a i ned to t h e very m a r r o w . W a s p - d r i l l s fr izz u m b e l l i f e r a n t w i t h h o r s e s h o e s i n t h e s o g g y m a n g e r a n d t h e b o w e r c o m e t a k e o n r ed -cade t ' s t e e t h . Fo r myself , I, t h e u n d e r s i g n e d , c o n c u r d . A m i s t of feeling m a k e s m e a p a r t m e n t to r a i s e w i th cover for m y peop le a n d m u s h r o o m u n d e r s t a n d i n g c r i n k l e s t h e h e r b wh i l e t e a r i n g off i t s h e a d a s r equ i r ed . A n d m o u n t e d o n a w a l l - c l e a r i n g w h i c h E l b e s i t s w a y H i s C o u n t r y Grateful ly , E lbe al l m o d e r n c o n d o l e n c e s a n d o u r Lorelei w h i c h b u s t a s t h e y c o m e d o w n . W h e n I b e s t o w from top to toe to be t h e beech , t h e forename, t h e c o u n t e r n a m e , t h e i n t e r n a m e a n d t h e P a r t h e n a m e m y p r a y e r a n d I s a y No a n d C a n o e a n d I s h o o t a n d t h e b o n g g a d r i n s a n d d i s a p p e a r s i n to m y t h i n w i t h i n a n d p e r c u s s e s in . Quie t ly t h e b i rd ' s c h e r r y b r i g h t a n d p i n t c loud over w i t h p impl ico a n d

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N e a s d e n s l ick o n t h e f u n n y - b o n e l o n g t h i n f u n n y b o n e e a t t h e hoar - f ros t of Hind ies a n d Niobobs from S u d a . T h e p h y l d r a i s obse rbed via t h e . e r a c m o u s obe . You f o o t s t e p o n p i n s whi le A ladd in COOTCOO-COO. S t P e t e r s o logic w i th pipe; a r e c e d a r of iffer b u t old, o h sovery s o m u c h . T h e floor below is Paris ' abode . T h e x e x a l t a s p e r a t e s soda - f i r e . B a t a v o i r a n d r o u l e t t e r m u m b l i n g r a t - t a i l d e c o r a t e s u p e r - t o o t e r t h e J i n g o r y j a m b o - r e e g e r m a n y . I h o w however howi tze r for y o u s i r . Yes, of c o u r s e , S i r , m o s ' l e y m e . S u n d e r s t o o d e a r s e h fluff t h e sys te l , t h e - s e a l s u p o n y o u r w i s d o m w o u l d f r ieze u p w i t h o u t d e l a y . Ana fana ly s i s r e d u c e s t h e c h e a t r o u s from d r o n e a n d twelve four, t i m e s e igh t dea l . By w a y of a u g m e n t i n g t h e c h a p p i n g sk in two leave m i n e of ep ig raphs . I n i c k e leven a n d c u t t h e m eleven m a k e s eleven s u m s i s r e d eeto. Makoffl Hall in hal l y o u could c l imat ia te w i thou t t h i n k i n g twice. A n d b e a t y o u begawping b l a c k v o c a b w h i c h p u r d l e s beFore t h e F r o n g a r s o n Adjectives l ike O n e t w o b u t o n e a d w o r d in t o n g u e b u t n o t i n fu rn i t r e , I g a s p y o u myse l f w h o S l e e p a p o s t r o p h e M a i m b e r l a i n . A n d w h o i m p e l i o s e s m a r k e t s in t h e woOds , W e e a c h began by

riossosrong = S o n of J u d a s r eneved , w h o Rev. ferrisrong

L i n n a e u s h i p p o m y t h Ee ingbri l l r e t h e r k r i n d folia k l i m b i x i g s r o d i k i t s m o f r o e d e b l a . . . E e w o n a d t e w a r r u e p m e y u g b i x i g s t e r w e a n i s e r a i p , E e t e l t o u d h a al lowow chyugxigs , t ewargax igs sp la t . E e

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n o d e d h a o r a d a r c a d e r a s h i n e a c l s p l s h figyef. E e h e n t a n d d h a m e t h t i b t e n t ewar fog jug f u l e c r a g d i s be l tog . O r a d a r - y u g b i x i g s i n g b r o m m e e e n o d e d h a mogsuere neac lewhitL

T H E M E D I A T I O N S

FORCE OF HABIT

h e table i s laid in t h e dining room; t h e t a p s are r u n n i n g w i t h c lear water , t e n d e r w a t e r , ' t e m p e r a t e > w a t e r , perfumed water. The bed i s a s big for t w q ; a s it i s for one. After.the bud 1 will

come the leaf, and after the leaf the flower and after the rain fine" weather. B e c a u s e i t i s t ime, the eyes open , t h e body s t a n d s straight, t h e h a n d r e a c h e s out, the fire is lit, the smile fights the wrinkles of the n ight for their gui le less curves. And it i s t h e clock's h a n d s which open, stand up, reach out, l ight.up and po int to the;.time for smi les . T h e s u n b e a m w a l k s r o u n d t h e h o u s e in a white blouse. It i s going to s n o w again, a few drops of blood are going to fall again around five o'clock, but it will not matter. Oh! I had a fright, I s u d d e n l y thought there w a s n o longer a s treet outs ide the window, b u t y e s , it i s stil l there. The shopkeeper i s even b u s y pul l ing u p h i s metal shutters. There will soon be more people push ing the wheel t h a n in the mflL Work is cut to shape, forged, p l a n e d , c a l c u l a t e d . T h e h a n d r e c o g n i s e s w i t h

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pleasure in a familiar tool the security of sleep. If only it lasts! The mirror i s a marvellous witness , cease less ly

varying. It testifies calmly, and forcefully, but w h e n it h a s finished speak ing y o u real ise it h a s t a k e n b a c k everything it sa id . It i s a runn ing personification of truth.

On t h e r icochet p a t h obst inately at tached to t h e legs of the m a n w h o i s going back today, a s h e will be going back tomorrow, on the s lender depos i ts of insouc iance , a t h o u s a n d s t e p s each day m a n y w i t h t h e s t e p s of t h e day before. We h a v e already b e e n there, we will come back without being asked. We have all b e e n pas t there o n our way from Joy to sorrow. It is a small cabin with a huge gas lamp..You put one foot in front of the other and your are off.

The wal l s are be ing covered with paint ings , feast days are being sifted with bouquets , the.mirror is s t eaming up. That m a n y l ighthouses on a s tream and the s tream is in the s l ime of the riverbed. Two eyes the same , for the u s e of your face alone -T? two eyes= crawling with the s a m e ants . Green is spread a lmost evenly over the plants, t h e wind follows the birds, there i s n o danger w e will s e e the s tones die. What i s o n s h o w I s not a trained animal, b u t a n animal trainer. Pah! It Is the imprescriptible order of a ceremony already s o imposing, indeed! It i s t h e repeater pistol whic trmakes flowers appear in vases , wi th a smoking mouth.

Love, in the long run, can happily do without see ing th i s clearly at night.

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W h e n y o u are n o longer there, there i s your perfume that seeks m e out. All I can get given back to m e i s the oracle of your weakness . My h a n d in yours looked s o unl ike your hand in mine. Misfortune, y o u follow, even misfortune improves wi th acquaintance. I w a s given y o u a s m y share, y o u c a n n o t n o t be there, y o u are t h e proof t h a t I a m there . And everything conforms to th i s life I have made myself to make sure of you.

"What are y o u thinking about?" "Nothing,"

SURPRISE

^ ^ 1 h e n , ,the s e n s a t i o n of t ime p a s s i n g ^ ^ ^ H H / having seized h im by .the throat, m a n

^ & \ *M g i v e s u p o v e r t u r n i n g t h e a b s u r d J | H ^ P c o n s t r u c t i o n s of h i s ingenui ty , a n d

™ s i t s d o w n at t h e d e s k of at tent ion, a freezing little breeze forces h im to but ton h i s jacket a n d bury h i s h a n d s in his pockets . .He tries to make u p for h i s woeful appearance with a . smi le he would love to m a k e look insolent; the crutches of courage are broken, no th ing works any more , everything takes care of itself. So he opens a newspaper but try a s h e m a y turning it ups ide d o w n a n d ins ide out, y o u have to admit that yesterday proved a s ca lm,as could be. Apart from a rain of grasshoppers over the Atlas, there w a s not m u c h to disrupt things: The weather forecast i s si lent about any changes in the weather of a n e w kind s u c h a s organ wind pass ing abruptly Into cocoons or b lue w o m e n spurt ing from certain large clouds.

You c a n n o t look back over your life wi thout real is ing t h a t y o u have never encountered those.

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g r e a t b ig g h o s t s w i th c a r b u n c l e eyes t h a t go b y in b o o k s , n o r sh ive red a t finding o n e even ing in y o u r a r m s t h e u n k n o w n b e a u t y y o u w e r e n o t expec t ing . T h e m o m e n t s of r e a l p a n i c h a v e b e e n b r i e f . B u t t e r f l i e s , m o s t f o r t u n a t e l y , h a v e n o t t h r u s t t h e m s e l v e s u p o n u s in a m a s s c o m p a c t e n o u g h to k n o c k u s d o w n . E v e n if t h e w o m a n - h e a d e d h y d r a s t a y e d q u i e t l y i n a n o n c h a l a n t p o s e o n a cafe t e r r ace , y o u h a v e to a d m i t t h a t , o n t h e o t h e r h a n d , b y looking u n d e r y o u r f u r n i t u r e every evening, y o u c a n h a r d l y c la im to have , s u c c e e d e d in p a s s i n g t h e t i m e of . d a y w i t h a n y o n e b u t b l o c k h e a d s m a d e b f d u s t . You m a y h a v e b e e n ab l e to see a s y o u w r o t e y o u r o w n h e a d t h r o u g h t h e p e n h o l d e r , to h e a r t h e s o u n d of t h e ra i lway b y s h a k i n g popp ie s , t o t o u c h w i t h y o u r finger t h e s t a r o n y o u r t o m b s t o n e , b u t y o u h a v e n o t ye t s u c c e e d e d i n ho ld ing in y o u r h a n d s a dagge r m a d e of wate r , even only to slit t h e t h r o a t of y o u r d o u b l e m a d e of d r o p s of water .

You h a v e n o t s e e n yourse l f i n m i r r o r s w i th a face o t h e r t h a n . y o u r own , e i t h e r t r a n s p a r e n t o r s h i n i n g . You h a v e b e e n t h r o u g h everyth ing: t h e s k y a n d i t s s h e e p , every form of s t o r m a n d wind , t h e c i r c u m v o l u t i o n s of t h e s u n a n d i t s n u r s e r y of b i rds , t h e b u r n i n g coa l s of d a t e d s o n g s , t h e s c r e e c h i n g of s u p p r e s s e d a n g e r , t h e t i g h t - s t r e t c h e d s a i l s of t h e ' b lood vesse l s , w i th t h e ens ign flying a t y o u r t emples , t h e a b l e - b o d i e d l ight , t h e c h e c k e r b o a r d of y o u r game , t h e oblivion of d r e a m s a n d t h e ca l enda r . Not a s e c o n d of r e sp i t e , on ly a s e c o n d a t iny Jbit l onge r t h a n t h e o t h e r s , n o t a w i n t e r Apri l fool. Leng ths , ;

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yes , l e t ;u s s a y t h e word a s w e wou ld n o t b e a s h a m e d t o a t t h e races , longueurs i n p re sence , in a b s e n c e , i n wai t ing .

H o w s h o u l d w e r e s p o n d t o t h o s e w h o do n o t a s k u s t h e i m p o s s i b l e , t o p e o p l e w h o m n o t h i n g a s t o n i s h e s ? W i t h lowered eyes w e c a r r y t h e b u r d e n of s i l ence ' forever a n d a lways . We will n o t let go of it un t i l w e h e a r it begging u s to do so.

O u r h a n d s a r e rocke t s t h a t d o n o t fire, even o n t h e f ines t d a y s . E v e r y o n e h a s arrived-' t oo ea r ly , n o t h i n g is r e a d y . T h e c a r s h a v e n e w ty res , it h a s s t o p p e d ra in ing . T h e m a n a n d w o m a n w h o love e a c h o t h e r d o n o t love e a c h o t h e r e n o u g h t o ki l l t h e m s e l v e s t h e first t ime t h e y s ee e a c h o the r . How to ge t t h e m t o r e m e m b e r t h a t wonde r fu l b o o k cover , t h a t cover frozen in co lours : h e w i t h h i s h a n d over h i s h e a r t , k n e e l i n g before h e r o n t h e te r r ib le t r a c k s , o n e t u r n of t h e w hee l s a w a y from t h e e x p r e s s {The Sublime Sin)? How to s h o w t h e m o n t h e wal l b e h i n d the i r b e d t h a t b i rd circl ing w h o s e w i n g s a r e m a d e of two s c y t h e b l a d e s a n d w h o s e h e a d i s a bu t t e r f ly p i n n e d a n d slowly dying.

All i s predic ted , all is foreseen, all is s e t in s tone . A fo r t ress of s o u n d s de fends t h e n igh t inga le ' s song , t h e i l lus ions perfectly fit t h e magic w a n d , t h e b e a u t y of d r e s s e s is m a d e b y t h e b e a u t y of bodies , even ing a n n o u n c e s t h e d a w n . B u t o n e p e r p e t u a l n i g h t t h e n igh t inga le c a n s t a y s i lent , for t h e for t ress h a s b e e n t a k e n .

T h e r e t o r t n o w e m p t y of m a n , t h o u g h i m p e r c e p t i b l y t r a c e d w i t h gold, s t i l l r e s i s t s t h e

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e l e m e n t s a t the . level of t h e th i r t i e th floor of t h e T o u r S t J a c q u e s w h i c h i s ye t t o , b e c o n s t r u c t e d . It is h e l d u p b y two S i a m e s e a n g e l s . It c a n n o t b e m a d e o u t u n l e s s o n e is qu i te alone.

I n t h e s h a d o w of t h e t o w e r t h e w h o l e e a r t h a c c e p t s t o b e p loughed , i t a c c e p t s i t s d e a d . H i n g e s o f b r e a d c lose t h e doo r s of h u n g e r , fine w e a t h e r c loses t h e p r i s o n s . It i s a lways , it is never . Poss ible b e i n g s q u e s t i o n p r o b a b l e be ings , a l r eady w i t h o u t f a the r s o r m o t h e r s . They wai t the i r t u r n , t h e y form a circle a n d p a s s r o u n d t h e glove of visibility. Man , i n t h e middle , is n o w n o m o r e t h a n t h e candle .

THERE IS NOTHING I N C O M P R E H E N S I B L E

h a t a t t r a c t i o n , t h e n , h a s b r o u g h t t o g e t h e r a t t h e . b o t t o m of t h i s c h a s m t h r e e t h o u s a n d f e e t b e l o w t h e s u r f a c e of t h e s e a s o m e of t h e g r e a t e s t c r i m i n a l s of o u r t i m e ? T h e

p l ace fis cool; b u t s p a r s e r a t h e r t h a n overgrown. No anxiety, a b o u t t h e fu ture , n o h i d d e n l ight h a s d r a w n t o t h i s p l a c e p e o p l e w h o s e a r c h t h r o u g h o u t t h e c o u n t r y s i d e for g r e a t l iving c o n f e s s i o n s . A t i n y s u b u r b a n villa n o s e s b e t w e e n t h e cliffs of cora l a n d i the c h a n t s of b u b b l e s w i th i t s l i gh tn ing c o n d u c t o r a n d d o v e c o t e a g a i n s t t h e sof t e p i d e r m i s of r e d s e a w e e d . T h o s e w h o frequent thiSi s p o t s p e a k m o r e willingly of h a t e t h a n . o f love. T h i s y e a r c h a n c e h a s l ed , some f a m o u s v i r tuosos to t h i s c lear ing.

T r o p p m a n n , La Brinvilliers, Vache r , Solei l land, H a a r m a n n . . . w h a t c h a r i t y g a l a c o u l d b o a s t of b r ing ing t o g e t h e r s u c h g rea t s t a r s o n t h e s a m e bill? T h e y a r e , t h e r e , however , w i t h o u t h a v i n g c o n s u l t e d o n e a n o t h e r , to r e s t , a n d to s t u d y , too, to^prepare in

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t h e p e a c e of t h e s e d e p t h s m y s t e r i o u s p r o g r a m m e s w h o s e sp l end id execu to r s a r e a s ye t u n b o r n .

La Brinvil l iers , i n t h e n i g h t - t i m e ca lm, revives h e r los t p o i s o n s w i th t h a t s t u d i e d g race t h a t a l lows h e r t o a r r i v e a t a t r u t h f u l a n d a c c u r a t e i n t e r p r e t a t i o n of a r s e n i c a l t h o u g h t . V a c h e r evokes t h e b e a u t y of p r o s t i t u t e s In love, H a a r m a n n e a t s , Sole i l land g a m b l e s , T r o p p m a n n l a u g h s , a who le n o m a n ' s l a n d before h i s eyes.

At t h e t u r n i n g p o i n t of s eve ra l p a t h s , g r az ing t h e m a s t s of s u n k e n s h i p s , w o r d s w i t h o u t s o n g ming l e in t h i s p i r a t e a t m o s p h e r e ; a n d n e v e r before, p e r h a p s , h a s t h e i r p o w e r b e e n wielded w i t h g r e a t e r f r e e d o m . T h e a t t r a c t i o n t h a t h a s d r a w n t h e s e c r i m i n a l s h e r e i s s u r e l y n o t h i n g o t h e r t h a n t h i s p u r i t y , t h i s s i l e n c e of t h e a b y s s , w h i c h p e r m i t s m u r d e r o u s l a n g u a g e to r e g a i n t o s o m e e x t e n t i t s y o u t h , t h e p o i n t of force a n d a c t i o n a t w h i c h i t i s a b s o l u t e l y itself, w i th n o t h i n g to h i n d e r o r c o r r u p t it.

We- s h a l l ' n e v e r forget t h e d a y w h e n for t h e first t i m e w e s a w Sole i l land e n t e r t h e s ea . S i lence h a d g r a d u a l l y se t t l ed in t h e r o o m w h e n t h i s ta l l y o u n g m a n c a m e u p to t h e bed a n d s a t down. He looked a t t h e t h i n h a i r t h r o u g h w h i c h h e h a d r u n h i s fingers, a n d g a t h e r e d h i s t h o u g h t s ; i t w a s a s if h e h a d w a n t e d to c o m m u n i c a t e sorrie of h i s e m o t i o n a n d dex te r i ty , s i lent ly at f first, to t h o s e a d o r a b l e c u r l s . T h e r e w a s n o affectation in h i s m u s i n g . We could feel t h a t h e w a s a lone , a n d t r u l y a t t h a t r r ibment w e al l ex i s ted m o r e or less t h r o u g h h i m . T h e p h e n o m e n o n

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t h a t b i n d s ' a m a n .so s t r a n g e l y t o w h a t h e loves c a n n o t a n y w a y e x i s t w i t h o u t a u t h o r i t y , exac t ingness : it is a s m u c h a n - a b u s e of s t r e n g t h a s it is a force, a n d p a r t of i t s role is to d i s t r ac t d e m o n s .

' W h e n - t h e pub l i c b u z z i n g h a d s u b s i d e d , w h e n h e w a s Oil a level wi th t h e sea, w h e n h e h a d ceased to b e t h e s t r o n g e s t , only t h e n did Solei l land unve i l t h e c h i l d ' s e y e s . B o r n i n s u r p r i s e t h e y s u d d e n l y a f f i r m e d life i n a v i o l e n t a n d m a g n i f i c e n t a b r i d g e m e n t . It w a s s o m e t h i n g w e h a d n e v e r s e e n before: in t h e m t h e work found i t s r ea l g r a n d e u r , real t r u t h . I t Is long: from o n e e n d t o t h e , o t h e r t h e i m p r e s s i o n of a d iv ina t ion g rew i n s u c h a w a y t h a t n o .one c o u l d d o u b t t h a t t h e y h a d w i t n e s s e d t h e c o n s u m r n a t i o n of t h e ages .

- (All t h i s t ook place, a s I h a v e sa id , b e n e a t h t h e sea.._We were only o n . a raft wi th o u r con tempora r i e s , w h o i c o u l d , h o w e v e r , h a r d l y b e ^ a c c u s e d of r o m a n t i c i s m . It w a s t h e n t h a t w e a d m i r e d t h e g e n i u s of t h e a p t l y ' n a m e d Sole i l l and . W e rea l i s ed t h a t h e was . do ing t h i n g s even b e y o n d inte l l igence, t h r o u g h o n e of t h o s e gifts t h a t m a k e peop le bel ieve i n s o m e t h i n g o t h e r t h a n n o r m a l h u m a n possibi l i t ies .

W h e n w e to ld Sole i l land w h a t w e t h o u g h t of h i m h e a n s w e r e d in a boyish voice:

"Why a r e y o u tell ing m e th i s?"

" B e c a u s e t h a t is w h a t we th ink . " "I h a v e n o t rouble believing you." He smiled, delighted t h a t ' h e could b e t a k e n for

o n e of t h e g r ea t e s t sp i r i tua l adv i se r s alive.

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"Bu t w h a t h a v e I done?" h e a d d e d . H e pl ied u s w i t h q u e s t i o n s in o r d e r t o h e a r u s a c c o u n t for o u r opin ion; a n d soon , w h e n i t w a s o u r t u r n to q u e s t i o n h i m , h e to ld u s of h i s ch i ldhood i n t h e s u n , b e t w e e n h i s f a the r ' s p r inc ip l e s a n d t h e p r e s e n t i m e n t s of h i s m o t h e r w h o , whi le h e w a s qu i t e y o u n g , h a d in i t ia ted h i m i n t o t h e g r e a t a r c a n a a n d h a d n e v e r d o u b t e d t h a t h e w a s des t ined o n e d a y to b e c o m e a "sun."

H e w o r k e d joyfully a n d w a s a l r e a d y m a s t e r of h i s indi f ference a n d m a s t e r of h i s de s i r e s , w h e n a g r e a t ag i t a t i on s h o o k h i s h a n d s . H e took d o w n from t h e w a l l t h e e n g r a v i n g t h a t h u n g t h e r e , w h i c h s h o w e d a r h a n h i t t i ng a w o m a n w i t h a cello a s h a r d a s h e cou ld , en t i t led : "A res i l i en t cello."1 T h e r e w a s n o t h i n g t o b e done , h e h a d to a d m i t t h a t h i s s t u d i e s w e r e finished; t h a t h e h a d b e c o m e t h e p e r s o n w e w e r e l i s t en ing to t h a t evening, a y o u n g m a n f a m o u s in t h e d e p t h s of life, w h o k n o w s glory b e c a u s e h e h a s n e v e r k n o w n t h e h e a r t s of o t h e r s .

H e w h o fulfils t h i s magn i f i cen t d e s t i n y t h i n k s only of h imsel f : h e i n h a b i t s a wor ld w i t h o u t v i c t ims a n d i s n o t a s t o n i s h e d a t h i s a d v e n t u r e h e r e be low if y o u s p e a k wi th h i m a b o u t it.

I A FEELING FOR NATURE >

^ ^ M l h e ba l l m i r r o r p r o c e s s h a s m o r e t h a n ^ • I B V o n c e p r o v e d u s e f u l i n s t u d y i n g t h e

^ H i U ? s o u r c e s of dew; w h e n c o m p l e t e d w i t h ' ^ H L ^ F a n o p e n fire, t h e . p h e n o m e n o n c a n

. q u i t e e a s i l y b e p u t t h r o u g h p r e c i s e m e a s u r e m e n t s , a n d s tud ied in full detai l ; t h i s is h o w w e h a v e t o c o m e t o k n o w t h a t freckles a r e b o r n

• a b r u p t l y , s t a y s h i n i n g for a very br ief m o m e n t , t h e n g r adua l l y fade away . The i r to ta l d u r a t i o n va r i e s w i th t h e f o r m a t i o n of c u r l s of g r e e n e r y i n c l e a r i n g s f avou rab l e t o s n o w . B u t n o n e l a s t s longer t h a n a n a v e r a g e l i fe - span , t a k i n g i n to a c c o u n t .its ec l i p se s a n d i t s k n o t s .

T h e g r e a t t h i n g wou ld b e if w h e n o n e be ing h a s deceived a n o t h e r , h e b e c a m e i n c a p a b l e of p ick ing u p a g l a s s w i t h o u t i t b r e a k i n g i m m e d i a t e l y . M a n y i n v e n t o r s h a v e devoted ; both the i r s leep ing a n d the i r w a k i n g h o u r s to so lv ing t h i s p r o b l e m , b u t s o far

i n o n e of t h e g l a s se s t h o u g h t u p b y t h e m h a v e offered t h e d e s i r e d q u a l i t i e s . T h e fact .is t h a t if i t is t h e

1 e l egance of t h e g l a s s a lone tha t , a l lows u s to d r i n k a n d if i t i s t h e t r e m b l i n g of t h e d r i n k e r — m a l e or

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f e m a l e — a l o n e t h a t c o m m u n i c a t e s h i s or h e r v i b r a t i o n s t o t h e t e m p e s t a l w a y s p r e s u m e d t o b e w i t h i n t h e e rnpty g lass , t h e n t h e e m o t i o n of e i t h e r o n e or t h e o t h e r c a n n o t b e sufficient, in t h e major i ty of c a s e s , t o p r o v o k e t h e b u r s t i n g of a p i ece of t r a n s p a r e n t m a t t e r a s r o u n d a s a c ruc ib le a t o n e ' s fingertips. T h e s e la rge h a i l s t o n e s t h a t h a v e ripened i n fickleness and" neg lec t d o riot a l low t h o s e w h o d r i n k t o t a k e t h e d e t a c h e d a t t i t u d e of lovers of j e a l o u s y .

B e n e a t h t h e t r e e s in h a n d f u l s , t h e b u r n t - l i n e n smel l of old r o s e s a d o r n s t h e ce l la rs of a u t u m n . T h e l a d y of t h e l a k e ' s h e a r t h a s b e e n p u n c t u r e d b y a l izard. It is in t h e d a w n r igh t .up to t h e hea r t . The re is b e n e a t h r o c k s u c h a m o v e m e n t of s t a r s t h a t t h e s h a d e i s f laking away, s u c h a m o v e m e n t of terr ible , g r e a t s t a r s t h a t life i s in s h r e d s . A n d the , e c h o a n s w e r s : Here, t he r e is a corpse .

Litt le by l i t t le t h e c o r p s e p u t s o n i t s m a k e - u p . R i ce p o w d e r y i e l d s i t s p l a c e t o w h i t e l ead , t h e s u b l i m a t e a p p e a r s o n t h e ba lcony , it is" t h e k i n g of c o s m e t i c s . Z inc s u l p h i d e i m p a r t s t o t h e b o d y of t h e be loved t h a t beaut i fu l ' g r e e n i s h - w h i t e l u m i n o s i t y in t h e n i g h t , t h a t a l t o g e t h e r e n i g m a t i c s p a r k l e i n t h e ha l f - l igh t . T h e s n o w of t h o u g h t c o n t i n u e s to fall, wh i l e t a m i n g w i t h i n i t s c r y s t a l s t h e w i n d o w - n e c k podurel le 2 , b o m in blood.

W h e n y o u look c losely a t y o u r o w n life y o u often ge t t h e i m p r e s s i o n t h a t j o y s a n d s o r r o w s l a s t for a c o n s i d e r a b l e l eng th of time. W e were s u r p r i s e d a t t h e l e n g t h of p e r i o d of t h e o s c i l l a t o r y

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p h e n o m e n o n b e t w e e n t h e R u e L o u i s - B l a n c t o t h e Rue.Louis-Noir : i n o u r opin ion t h e p o i n t s t h a t s h i n e a r e t h o s e w h e r e life is s een fo reshor tened .

T h e e n e m y b y n a t u r e h a u n t s p e r i l o u s fo res t s w h o s e g a t e s c lose every m o r n i n g o n t h e t r e e of vice. H e a l t h i s finished w i t h i t s w i n t e r - w e a t h e r m a l l o w flowers a n d b u r n i n g h e a t of tigers. T h e e n e m y b y n a t u r e i s l o s t a m i d t h e s a l t e d f lowers a n d p l a s t e r fans . M u s t I s h o w h i m t h e w a y t o t h e d e s e r t ? S h a l l I t u r n h i m t o w a r d s t h e pole s t a r ? Does h e w i s h t h a t t h i s p a v i n g s t o n e h e r e s h o u l d b e c o m e a n d c o n s t a n t l y r e m a i n pa ra l l e l t o t h e in fe rna l e q u a t o r ? Is he: p l e a s e d t h a t t h i s r n o u t h h e , l u s t s af ter r e m a i n s i n d e f i n i t e l y a t t h e d o o r of t h e first p a l a c e of p h e n o m e n a ? Let h i n i c h o o s e ! O r d o e s h e r ea l ly p re fe r t o h a v e al l t h i s in t h e o p e n i n g of h i s a t t i c w h i c h gives o n t o t h e dazed s k y ?

All of it , h e a n s w e r s . Wi th t h a t a n d a s u n - l i k e smi le , w i t h o u t p u t t i n g m y n o s e t o m y window, I will f i n d o u t j u s t w h a t t o e x p e c t f r o m t h e i n c o m p r e h e n s i b l e p o w e r of k i w i s a n d t h e i r o n c r a m p o n s of t h e i r c r e p u s c u l a r h a b i t s .

I wil l find, o u t j u s t w h a t t o e x p e c t from t h e p r o c e s s u s e d to d r e s s u p d e s e r t ob j ec t s t h a t p r e exis t t h e old wor ld w i th c h a r a c t e r s , b i rds , o r v a r i o u s r e l a t i v e l y w e l l - m a d e , t h r e e - d i m e n s i o n a l d e c o r s . Faced w i th t h e m o d e s t pr ice of t h e who le t h i n g — life - ^ . a n d t h e to lerable execu t ion of t h e decor , J t h o u g h t t h a t p r o b a b l y a s imple , m e c h a n i c a l p r o c e s s h a d b e e n u s e d , s u c h a s mou ld ing , b u t af ter e x a m i n i n g t h e m I rea l i sed t h a t t h e s e decora t ions , especial ly t h e

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b i r d s , w e r e n o t c a s t s , a n d so cou ld n o t h a v e c o m e from a n o rd ina ry mou ld , b u t m u s t h a v e r equ i r ed a h expens ive m o u l d i n g p rocess . I d o n o t k n o w if o n e d a y I s h a l l h a v e a n * o p p o r t u n i t y t o v i s i t t h e m a n u f a c t u r e r ' s w o r k s h o p . It i s ' p r o b a b l e t h a t all t h e a r t i s t h a s for m a t e r i a l s a n d too l s , a re a p p l e l e aves a n d plas t ic ; a n d it i s w i t h t h o s e a p p l e leaves t h a t h e s c u l p t s t h i s m a t e r i a l f o rmed f rom d a p p l e d s k i e s (ve ry p r o d u c t i v e ) a n d s p e r m b l e n d e d w i t h s t r a w b e r r y r u n n e r s . He m u s t h a v e t a k e n t h e m u s k from t r o u t h e a d s 2 , mixed i t t o g e t h e r wi th a n oxalo r

s a c c h a r i n e a c i d a n d e n c l o s e d i t first.in.a f lesh-co loured tab le t . In a second ,sp i r i t -co loured t ab l e t h e m u s t h a v e enc losed .d ry b i c a r b o n a t e of soda . D u r i n g t h e r a i n y s e a s o n t h e two t a b l e t s mixed to p r o d u c e carbolic acid, exhalable in t h e form of b rea th .

T h e w i c k e d n e s s t h a t h u r l s sp i r i t , o n t o flesh a n d flesh on to t h e i m a g e s of t h e sp i r i t i n h a b i t s t h e m i r a g e s of t h e h e a d a n d t h e chi l led w a t e r of d u m b k i t c h e n s . O n e h a s to b r e a t h e t h i s s avage a i r w h i c h b a r e s i t s f ists t h r o u g h t h e r a v e n i n g a p p e t i t e of w a s p - w a i s t e d , v i p e r - h e a d e d r u i n s . T h e s e p i l e -up in l aye r s a n d e a c h level is covered w i t h b lood c lo t s of living foam t h a t t h e fog t h e n covers wi th d e a d foam1. T h e a t m o s p h e r e t h e n t u r n s a s h a d e of yel low m o r e i n t e n s e t h a n t h e b a r k of d a w n . The! view s t r e t c h e s o u t l imi t l e s s ly a n d p e n e t r a t e s t h e d e p t h s of t h e h u m a n h e a r t , w h i c h h a v e a l w a y s m a d e - a n e x t r a o r d i n a r y i m p r e s s i o n o n t h o s e w h o h a v e looked u p o n t h e m .

We would have liked to i l lus t ra te th i s text wi th a

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c u r i o u s f i g u r e of a n a n i m a l w h o s e b o d y i s e x t r a o r d i n a r i l y f o r k e d f rom h a l f w a y d o w n i t s length*. T h e e x i s t e n c e of s u c h b e i n g s h a s b e e n r e p o r t e d a l l over t h e p lace . T h i s k i n d of a b n o r m a l divis ion of u s u a l l y s imple a x e s a n d o r g a n s , w h i c h i n t r e e s g o e s b y t h e n a m e of pa r t i t i on , h a s n o t a s ye t b e e n s t u d i e d excep t by s e x u a l i s t s . It w a s i n Pa r i s , w h e r e w e we re o u t b o t a n i s i n g a long t h e fortifications t h a t w e w e r e s u r p r i s e d to s ee for t h e first t i m e one , a n d t h e n two , a n d t h e n a t h o u s a n d of t h e s e e x c r e s c e n c e s r e m i n i s c e n t , b u t w i t h a m u c h m o r e a d v a n c e d d e g r e e of d e f o r m a t i o n , of t h i s m o b i l e var ie ty of m a n d r a k e , seek ing t h e w i n d i n t h e c lose-c r o p p e d g r a s s w h i c h t h e r o c k i n g h o r s e s eye s o p i t e o u s l y . T h e i r exc i tab i l i ty gave u s a fairly good p i c t u r e of a s c e n e r a t h e r a n a l o g o u s to t h a t of a b e d a s i t w o u l d b e if t h e s p e e d of t h e m o v e m e n t s per formed b y t h e va r ious l imbs a s s e m b l e d o n it we re m u l t i p l i e d a t h o u s a n d times. E v e r y t h i n g i s i n m o t i o n t h e r e , a r m s r i s e . fall, t w i s t t h e i r h a n d s , t r u n k s s p i n a r o u n d t h e i r d e l i c a t e t i p s , m o u t h s b u r s t , s p i t t i n g k i s s e s fa r a n d wide , k i s s e s w h i c h l a n d o n t h e . eyes d o n o t s t ay , b u t s o o n m o v e o n in a n o t h e r d i r e c t i o n , l egs p l u n g e i n t o t r a n s p a r e n t s h e e t s , i n s h o r t , i t i s a l l a c t i o n from t h e c r y of self-a b a n d o n to t h e velvet t ee th .

-1 T h e p a t h s t h a t c r i s s - c r o s s ' t h e s u b u r b , in t h e l a s t r a y s of l a z i n e s s , l ie b a c k in h a m m o c k s of c h i c k e n w i r e . I t i s difficult t o p e r s u a d e v i l lage s q u a r e s n o t t o s t a r v e t h e m s e l v e s t o d e a t h , a t s u n d o w n . All t h e i r pue r i l i t y s e r v e s on ly t o r n a k e

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t h e m confuse t h e spo i l s of t o u r i s m wi th t h e s t u p i d m a i n t e n a n c e of fat wis t e r i a s from t h e Beauce .

T h e s u m m e r i n inv i s ib l e i n k , r e a p p e a r s b y v i r t u e of two nega t ives : w h e n it i s n o t h o t it is riot cold o n t h e frosted p a l i m p s e s t of-the word win te r .

Fire is a friend w h o serves u s well, w h i c h is w h y the- a l l i ance c o n c l u d e d with- i f flatters t h e e a r t h l y p o p u l a t i o n so keenly . T h e whole fire a l a r m is p laced o n a c h e r r y b r a n c h 2 ' . T h e che r ry b r a n c h wh ich is 3 5 c m h i g h w i t h o u t - t h e b u d a t i t s tip, is fixed w i th four s c r e w s t o t h e t r ee t r u n k , a l sb rriade of wood, of t h e m o d e l w e know. Here w e a r e in t h e middle of sp r ing . W h a t c h a n g e s h a v e a l r e a d y b e e n accompl i shed! T h e fire a l a r m i s visited^by a wh i t e but terf ly w h i c h s t o p s in t h e m i d d l e of t h e p h o t o g r a p h . A u t u m n : mos t -o f t h e l eaves h a v e fallen; a hyb r id C o r i n t h i a n c a p i t a l m a k e s a treatrfor a dragonfly.

A n i m m e n s e s e a w i t h a fed wig p r o t e c t s t h e tools u s e d by t h e s p a r k . T h e r e will soon b e a n ecl ipse of c o u r a g e . T h e lava flows t h a t , die o n t h e p l a in a n d t h e i r r u p t i o n s of t h e u s e l e s s axe, t h e p a t e r n a l axe , t h e s a w - t o o t h e d axe , will h a v e n o m o r e h i s to ry . T h e s p a r k , still r e sp l enden t , will be glacial. It will rise u p , v a i n a n d thea t r i ca l , over a world too m u c h c a r e s s e d b y s i m u l a t o r s . T h e m o n u m e n t of d a y will give u s d r e a m s of soot . * •

W e will p r e p a r e to d e m o l i s h i t f rom t h e founda t ions , once it is s a t u r a t e d w i th d r e a m s . It 'will t e l e scope , a s t h e E n g l i s h say , a s it falls, a n d n o t s c a t t e r d e b r i s a r o u n d . . T h e n t h e t e l e g r a p h w i l l . n o longer look like a h a t a d o r n e d w i th swal lows o n t h e

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h e a d of a Pa r i s i enne in 1889.

W h i l e w e wa i t , t h e s k y a n d i t s b y - p r o d u c t s h a v e n o effect overa l l . Blood Is m o r e i n d e m a n d b e c a u s e i t s c o l o u r i s c o m p l e m e n t a r y t o t h e green co lour of s k i n (1914-1918) ,

After b lood c o m e s t h e b l a c k of glory: y o u t a k e a whi te book, y o u c lean it, y o u i m m e r s e i t p a g e by p a g e for s eve ra l m i n u t e s in a gooey m i x t u r e m a d e from: 5 0 0 g r a m s of s h e e p m a n u r e , a p i n c h of cooking sa l t , a g l a s s of v i n e g a r to w h i c h y o u a d d 2 0 0 g r a m s of e lderber ry powder , a n d y o u s ign.

T h e c o n v e n t i o n a l r e p r e s e n t a t i o n s of t h e geome t r i ca l s p r i n g s of n a t u r e a r e on ly s e d u c t i v e b y v i r t u e of t h e i r p o w e r to o b s c u r e . C rys t a l is a m a z e followed b y moles , g r a p e s b u r n t h e l a s t bu t te r f l ies . S e e n t h r o u g h t h e loosened s u b s t a n c e , t h e l a n d s c a p e c h a r m s u s w i t h al l i t s d u n g e o n s . F i s h m a d e from n e t s , b i r d s m a d e from b a r s , m a m m a l s from d r o p s . P i e rced t h r o u g h a n d t h r o u g h b y t h e o d o r i f e r o u s a r r o w of t h e a i r , o u r b o a t l e a k s i n to t h e s e a w h i c h e m p t i e s . W h a t w e r e w e s ay ing? Ah! b u t t h e r u i n s , t h e o s t r i c h - p l u m e d r u i n s , s t a y f a i r ly s o l i d l y beau t i fu l . T h e r e is only a degree of w a r m t h b e t w e e n t h e lea fage of t h e l i lac a n d t h e l a s t s o n g of t h e cuckoo, b u t o n e c a n b e s u r e t h a t t h i s degree is p u t to good u s e b e t w e e n t h e t h i r t y - seven th — from h e r e — a n d t h e for ty-second — to there .

http://will.no

LOVE

^ t e c i p r o c a l love, t h e o n l y k i n d t h a t ^ ^ ^ t f ^ ^ s h o u l d c o n c e r n u s h e r e , i s w h a t ^ ^ ^ B ' X c r e a t e s i n t e r p l a y b e t w e e n u n f a m i l -

V g V ia r i ty a n d h a b i t , i m a g i n a t i o n a n d t h e . ^ ^ ^ ^ c o n v e n t i o n a l , f a i t h a n d d o u b t , p e r c e p t i o n of t h e i n t e r n a l objec t a n d t h e e x t e r n a l object.

< It i n c l u d e s t h e k iss , t h e e m b r a c e , t h e p rob lem, a n d t h e inf in i te ly p r o b l e m a t i c a l o u t c o m e of t h e p rob lem.

Love a lways h a s time. It h a s before it t h e brow, from w h i c h - t h o u g h t s e e m s to come; t h e eyes , w h i c h will s h o r t l y n e e d to be d i s t r a c t e d f rom t h e i r o w n looking; t h e t h r o a t in w h i c h s o u n d s will cu rd l e ; it h a s t h e b r e a s t s a n d t h e b a c k of t h e m o u t h . I t h a s before it t h e folds of t h e groin, t h e legs w h i c h h a v e b e e n r u n n i n g , a n d t h e m i s t w h i c h c o m e s d o w n from the i r veils, it h a s t h e p l e a s u r e of s n o w falling in front of t h e w i n d o w . T h e t o n g u e d r a w s t h e l ips , j o i n s t o g e t h e r t h e eyes , t e a s e s t h e b r e a s t s , ho l lows t h e a r m p i t s , o p e n s t h e w i n d o w ; t h e m o u t h a t t r a c t s

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flesh w i th all i t s power, it f ounde r s in a n e r r a n t k i ss , i t r e p l a c e s t h e m o u t h it h a s t a k e n , it is t h e b l end of d a y a n d n igh t . T h e a r m s a n d t h i g h s of t h e m a n a r e b o u n d t o t h e a r m s a n d t h i g h s of t h e w o m a n , t h e w i n d b l e n d s w i t h t h e s m o k e , t h e h a n d s t a k e a n i m p r e s s i o n of t he i r des i res .

W e d i s t i n g u i s h p r o b l e m s a s p r o b l e m s of t h e first, s e c o n d , a n d t h i r d deg ree . I n p r o b l e m s of t h e f i r s t d e g r e e , t h e w o m a n , i n s p i r e d b y N o r t h A m e r i c a n Tlingit s c u l p t u r e s , s e e k s t h e m o s t perfect e m b r a c e w i t h t h e m a n ; t h e t h i n g i s t o form a s ing le ' b l o c k f rom t h e two of t h e m . In p r o b l e m s of " the s econd degree, t h e w o m a n will t a k e a s a model Haida s c u l p t u r e , from very m u c h t h e s a m e p a r t of t h e wor ld , a n d ge t a s far a w a y from t h i s e m b r a c e ' a s 'poss ib le ; the ' t h i n g is to t o u c h o n e a n o t h e r t h e m i n i m u m , t o t a k e p l e a s u r e a b o v e al l i n agil i ty. In p r o b l e m s of t h e t h i r d degree , t h e w o m a n a d o p t s all t h e n a t u r a l pos i t ions i n t u r n .

T h e window will b e open , ajar , closed, i t will give o n t o ' t h e s t a r , t h e s t a r will c l imb t o w a r d s it; t h e s t a r will h a v e to r e a c h it or t ry t h e o ther s ide of t h e h o u s e :

1. W h e n t h e w o m a n is on h e r b a c k a n d t h e m a n lies on top of he r it is t h e cedilla. I

" 2 . . W h e n t h e m a n i s o n h i s b a c k and^ h i s m i s t r e s s lies o n . t o p o f h i m it is t h e e . r ,

.* 3 . W h e n t h e m a n a n d h i s m i s t r e s s lie on o n e s ide and" observe e a c h other , it i s t h e windscreen.

4. W h e n t h e man* a n d t h e w o m a n die o n o n e s i d e , o n l y *the w o m a n ' s back" be ing . o p e n „ t o

obse rva t ion , it i s t h e Devil-Pond 5. W h e n t h e m a n a n d h i s m i s t r e s s lie o n o n e

s ide, looking a t e a c h o the r , a n d s h e t w i n e s h e r legs r o u n d t h e m a n ' s legs, w i th t h e w i n d o w wide open , it is t h e oas t s .

6 . W h e n t h e m a n a n d t h e w o m a n lie o n t h e i r b a c k s , w i t h o n e of t h e w o m a n ' s l egs a c r o s s t h e m a n ' s , belly, i t i s t h e broken mirror.

7. W h e n t h e m a n l ies o n t o p of h i s riiistress, w h o e n t w i n e s h i m w i t h h e r legs, i t i s the? Virginia Creeper.

8. W h e n t h e m a n a n d t h e w o m a n , a r e o n t h e i r b a c k s , t h e w o m a n o n t o p o f t h e m a n ; h e a d down , w i t h t h e w o m a n ' s legs u n d e r t h e m a n ' s a r m s , i t i s t h e train whistle.

9 . W h e n t h e w o m a n s i t s w i t h : h e r l e g s s t r e t c h e d o u t o n t h e m a n lying d o w n facing h e r , a n d s h e i s l e a n i n g o n h e r h a n d s , i t i s t h e reading pos i t ion .

10. W h e n t h e w o m a n s i ts , w i t h h e r k n e e s b e n t , o n t o p of t h e m a n lying down , facing h i m wi th h e r b u s t e i the r t u r n e d away or not , it i s t h e faun.

11. W h e n t h e w o m a n s i t s b a c k t o front w i t h h e r k n e e s b e n t , o n t o p of t h e m a n lying d o w n , it i s t h e springboard. *•

12. W h e n t h e w o m a n l ies o n h e r b a c k a n d r a i s e s h e r t h i g h s vertically, it is t h e lyre-bird. t 1 3 - W h e n t h e w o m a n faces t h e m a n a n d p l a c e s h e r legs o n h i s shou lde r s , it i s thciynx. j :

14. W h e n t h e w o m a n ' s legs a r e d r a w n u p a n d h e l d . t h e r e b y t h e m a n a g a i n s t , h i s c h e s t , if i s t h e

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shield. 15. W h e n t h e w o m a n ' s legs a r e - d r a w n u p , w i th

h e r k n e e s b e n t a t t h e level of h e r b r e a s t s , it is "the orchid.

16. W h e n only o n e of t h e legs i s ex t ended , i t i s past midnight.

17. W h e n t h e worrian p l ace s o n e o f h e r legs o n t h e m a n ' s s h o u l d e r a n d s t r e t c h e s t h e o t h e r leg, t h e n p l a c e s t h a t o n e in t u rn . . on h i s s h o u l d e r a n d e x t e n d s t h e first-one, a n d so. o n in a l t e rna t ion , i t i s t h e sewing machine.

18. W h e n o n e of t h e w o m a n ' s legs i s p laced o n t h e m a n ' s head , .w i th t h e o t h e r leg ex tended , it i s t h e first step.

19; W h e n t h e w o m a n ' s t h i g h s a r e lifted a n d p laced o n top of e a c h other , it is t h e spiral

2 0 . W h e n t h e m a n , i n t h e c o u r s e of t h e p r o b l e m , s p i n s r o u n d a n d e n j o y s h i s m i s t r e s s w i t h o u t l e a v i n g h e r , w h i l e s h e k e e p s h i s l o i n s e m b r a c e d , i t is t h e perpetual calendar.

21 . W h e n t h e m a n a n d ; h i s . m i s t r e s s , l e a n o n e a c h o t h e r ' s body , o r a g a i n s t a wall , a n d t h u s ho ld t h e m s e l v e s u p r i g h t to t a ck l e t h e p rob lem, it is good health to the woodchoppef.

22 . W h e n t h e m a n l e a n s a g a i n s t a wall a n d t h e w o m a n s i t s o n t h e m a n ' s h a n d s locked b e n e a t h h e r , t h r o w s h e r arrris a r o u n d h i s n e c k a n d g l u e s h e r t h i g h s a r o u n d h i s wa i s t , whi le moving w i th h e r feet w h i c h t o u c h t h e wall t h e m a n is l ean ing aga ins t , it i s kidnap in a boat.

23 . W h e n t h e w o m a n b e n d s over on h e r h a n d s

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a n d feet l ike a q u a d r u p e d a n d t h e m a n s t a y s s t a n d i n g , i t is t h e earring.

2 4 . W h e n t h e w d t n a n g e t s d o w n o n h e r h a n d s a n d k n e e s a n d t h e m a n knee ls , it is Xh&High Altar.

25 . W h e n t h e w o m a n s t a n d s o n h e r h a n d s a n d t h e m a n h o l d s h e r u p by h e r t h i g h s w h i c h ho ld h i m r o u n d t h e wais t , it is t h e lifebelt.

2 6 . W h e n t h e m a n s i t s o n a c h a i r a n d h i s m i s t r e s s s t r a d d l e s h i m facing h i m , it Is t h e p a r k bench

2 7 . W h e n t h e m a n s i t s o n a c h a i r a n d h i s m i s t r e s s s t r a d d l e s h i m wi th h e r b a c k to h i m it i s t h e t rap .

2 8 . W h e n t h e m a n s t a n d s u p a n d t h e w o m a n r e s t s t h e u p p e r p a r t of h e r body o n t h e b e d , w i th h e r t h i g h s h o l d i n g t h e m a n r o u n d t h e w a i s t , i t i s t h e head of Vercingetorix.

2 9 . W h e n t h e w o m a n c r o u c h e s o n t h e b e d in front of t h e m a n w h o r e m a i n s s t a n d i n g a g a i n s t i t , i t is t h e game of the flea.

3 0 . W h e n t h e w o m a n k n e e l s o n t h e b e d facing t h e m a n w h o r e m a i n s s t a n d i n g a g a i n s t it. i t is t h e vetiver.

3 1 . W h e n t h e w o m a n k n e e l s o n t h e b e d , w i th h e r b a c k to t h e m a n s t a n d i n g u p a g a i n s t i t . i t is baptism of the bells.

3 2 . W h e n t h e virgin l e a n s <back w i t h h e r b o d y power fu l ly a r c h e d w i t h h e r h a n d a n d h e r feet r e s t i n g o n t h e g r o u n d , or even be t t e r , h e r h e a d a n d h e r feet, a n d t h e m a n knee ls , i t i s aurora bbrealis.

Love mul t i p l i e s t h e p r o b l e m s . F u r i o u s f reedom

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t a k e s p o s s e s s i o n of t h e lovers, more_devoted to e a c h o t h e r t h a n s p a c e to t h e b o s o m of t h e air . T h e w o m a n a l w a y s k e e p s i n h e r w i n d o w t h e l ight of t h e s t a r , i n h e r h a n d t h e life l ine of h e r lover. T h e s t a r in t h e w i n d o w s lowly revo lves , e n t e r s a n d w i t h d r a w s w i t h o u t ceas ing , t h e p r o b l e m i s a c c o m p l i s h e d , t h e p a l e s i l houe t t e of t h e s t a r in t h e w indow h a s b u r n e d t h e c u r t a i n of t h e day.

T H E IDEA O F BECOMING

^ ^ l i e h a v e g iven a g o o d r t d e a l of t h o u g h t ^ B M A H t o h u m a n per fec tab i l i ty , t h i s k i n d of ^ k \ l ^ p b e a r h u n t i n m o u n t a i n s w h i c h flaf u n d e r m i n e t h e m s e l v e s t h e n a g a i n

w ^ ^ ^ ^ ^ b e c o m e m o u n t a i n s w h i c h u n d e r m i n e t h e m s e l v e s ar id a r e in t h e end , j u s t m o u n t a i n s . T h e b e a r i n q u e s t i o n d o e s n o t t u r n , u p i t s n o s e a t a p p e a r i n g b e t w e e n two cave- ins or two e r u p t i o n s of m o l e h i l l s a n d o t h e r a c c i d e n t s of t h e t e r r a i n . In h i s eye t h e r e i s life a n d d e a t h , t o give a n d to receive, w h i c h m e a n s a certain" a w a r e n e s s of s t u p i d i t y is n o t ent i re ly a b s e n t . Go on, t hen ! U p a g a i n s t ' t h e wall, it is all 'over. B u t h o w I loved... T a k e aim! P e r h a p s It would h e right t o s ing! Fire! And to t h i n k t h a t s o m e o n e m a y still b e wai t ing for me! *

T h e li t t le t r i ck t h a t c o n s i s t s ' o f giving grief t h e form of a f e a r s o m e , b e w i l d e r e d h o p e , c a n n o t b e p e r f o r m e d w i t h o u t a b a n d o n i n g s e v e r a l w o r r i e s of s e c o n d a r y i m p o r t a n c e . Phys i ca l ' p a i n h a s for u s never b e e n m o r e t h a n t h e fifth whee l of t h e c o a c h of flesh. Conf idence on ly c o m e s i n to t h e l ight of d a y

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I L

108

t h r o u g h t h e s h u t t e r s of obse rva t ion . To a d m i n i s t e r j u s t i c e h a s neve r b e e n a n y t h i n g b u t t h e first a n d s m a l l e s t t e r m of a s o l u t i o n w h i c h c a n cover m a n w i th t h e t r a n s p a r e n t coa t of equal i ty . Yet people a r e n o t s o s u r e of the i r own lives a s n o t to va lue t h e lives of o t h e r s .

B u t t o n of t h e un i fo rm I did n o t choose , b u t t o n w h i c h b e a r s in relief t h e l i t t le p o m e g r a n a t e of m y m i n d , te l l m e t r u l y t h a t I a m rep laceab le . T h e s k y w a s a fea ther in m y h a t , t h e e a r t h a s p u r . W h a t i s kil l ing' m e after al l is w h a t d e s e r v e s t h a t I ex i s ted . Before m y s t e p s could b e a l igned wi th t h e c o m p a s s , very d e e p naviga t ion w a s u n d e r t a k e n to allow m e to p r o d u c e for myself m y very o w n p r o u d little cyclone. T h e s h i p c l imbs t h e sp i ra l s t a i r c a s e of a w a t e r s p o u t . At t h e v e r y top of t h e s t a i r s it is a m a z e d to h a v e t o l e a p i n t o t h e a i r a n d n o l o n g e r b e ref lec ted i n a n y t h i n g b u t a fu ture e t ched in acid..

T h e s e g loves of d i s g u s t t h a t I h a v e b e e n w e a r i n g w e r e . n o t s e w n for me . And t h e n , too, w h a t a r e t h e s e h a n d s I have s t r e t c h e d out , t o w a r d s w h i c h m y h a n d s s t r e t c h ou t , w h a t a r e t h e s e looks I h a v e c a s t o n e v e r y t h i n g , t h e s e l o o k s t h a t e v e r y t h i n g a b a n d o n e d , w h a t a r e t h e s e m e m o r i e s t h a t m a i n t a i n w h a t is to come?

W i t h o u t a n c e s t o r s , w i t h o u t d e s c e n d a n t s . T h e m a i l b o x a t t h e far end -o f t h e g a r d e n is emp ty ; or r a t h e r , no : i t is ,silting u p , it is magni f i cen t . E a c h g r a i n of s a n d i s a n a g g l o m e r a t i o n of p a r t i c l e s der ived from, t h e w e a r i n g a w a y of w h a t h a s ;been w o r n a w a y only to b e u s e d a g a i n . T h e po in t t h a t I

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c a n n o t r e a c h i s a s d i s t a n t a s t h e p o i n t t h a t I h a v e r e a c h e d . Is it from h e r e t h a t I .set off, from t h i s g r a in of s a n d s m a l l e r t h a n a die, o r from t h i s c u b e of b e a c h e s i n d e t e r m i n a t e l y s t u m b l i n g o n t h e t a b l e of r e h e a r s a l s ?

If w e c o u l d s t a r t iall over aga in , if i t w a s t o b e s t a r t e d a n e w . . . T h e s e a foam r o s e b u s h i s s t a n d i n g n e x t to m e in t h i s poetical ly definitive po r t r a i t . I still c o m p a r e myse l f to w h a t I cou ld n o t h a v e b e e n . T h i s old m a n i s w a t c h i n g , i n t he , d i s t a n c e , h i s g r e a t -g r a n d - c h i l d r e n t h r o w i n g s n o w b a l l s a t e a c h o t h e r t h r o u g h h i s b e a r d , t h i s chi ld i s d r e a m i n g h e is dead , t h e a s s u r a n c e t h a t the , n e x t d a y will c o m e m a k e s a b r i d g e ove r t h e a b y s s t h a t d i v i d e s i t from- t h e p r e v i o u s d a y . All t h e a u t h o r i t y w i t h w h i c h I b a r r i c a d e mysel f a g a i n s t m y w e a k n e s s m i n g l e s t h e c o n s t r u c t i o n s of b o t h m e n a n d t ime .

Of c o u r s e , it d o e s n o t a d d u p t o m u c h if y o u c o n s i d e r t h e d i f ference . H e r e a r e t o d a y ' s l i t t l e r e m e d i e s i n to w h i c h n o w h a r d l y a t h i n g b e s i d e s wild f lowers g o e s , h e r e o n a c u s h i o n i s t h e l a t e s t i nven t i on all t ang led in i t s wires , h e r e i s t h a t p r e t t y n o i s e of pi le dr iv ing w h i c h h a s s u c h fun w i t h t h e gravel . In t h e c o m p l e t e oblivion of s te r i l e t e r r a i n s , p o t e n t i a l d i s c o v e r i e s a r e s l e e p i n g t h e i r f i r s t a w a k e n i n g . O v e r w h e l m i n g a p p a r i t i o n of b l a c k n i g h t s , a b e i n g t h a t y o u k n e w h a s b e c o m e a n e w being.

S o m a n y r u n n e r s a n d w h a t a r ace ! It i s s o far t h a t t h e r e will b e n o o n e to wa i t a t t h e finishing line. T h e F r o n t r u n n e r s wi l l h a v e o v e r t a k e n t h e

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s t r a g g l e r s t h o u s a n d s a n d t h o u s a n d s of t i m e s , t h e t r a c k is s o s m a l l af ter all : yet , g r e a t c a r e is taken,1

a n d for good r e a s o n , n o t to c o u n t t h e laps . . . In o u r br ief r e l a t i ons w i th exis tence , all t h a t ' c o u n t s i s t h a t w e s h o u l d h a v e k e p t u p t h e r h y t h m a li t t le. O u r m e m o r y of t h e c u r v e s of t h e t ra jec tory v a n i s h e s . By a n indef inably s t r a i g h t l ine t h e w a y is m a r k e d , ar id r e t u r n i n g i s m a d e i m p o s s i b l e . A n d t h e r u n n e r o v e r t a k e s h imse l f . . . h e h a s b e c o m e invis ib le . H i s i n s a n e l y lowered b a c k fo rms a n in tegra l p a r t of t h e s lope t h a t h e is cl imbing. His b a c k m u s t b e t e n s e d in p a r a l l e l t o al l t h o s e b e n t - d o w n b a c k s , al l t h o s e a d m i r a b l e b a c k s . D i s a s t e r will s t r i k e a n y o n e w h o a t t e m p t s t o m a k e t h e m s e l v e s a p e d e s t a l from t h e m , t h a t will p u t a n e n d to t h e s h e l t e r m a d e b y t h e i r h a n d s end les s ly falling in to a suffocating pe r fume of t e r p e n t i n e , t h a t will p u t a n e n d t o t h e d u s t w h i c h st i l l o b s c u r e s t h e world, i t will p u t a n d e n d , too. to t h o s e q u a r r i e s of t h e w o r s t in t h e g r e e n e r y of evil, t h o s e o a s e s of t h e b e t t e r in t h e d e s e r t s of good. T h e inv is ib le b a r r i e r s of h u m a n t h o u g h t , t h e invis ib le b a r r i e r s of s imi la r bodies , will b u r y a s t h e y co l lapse all the enemies of h u m a n kind.

T H E O R I G I N A L J U D G E M E N T

o n o t r e a d , l o o k a t t h e d e s i g n s c r e a t e d b y t h e w h i t e s p a c e s b e t w e e n

I "W t h e w o r d s of s e v e r a l l i n e s In a b o o k ^ ^ a n d d r a w in sp i r a t i on from t h e m .

Give y o u r h a n d to o t h e r s to keep .

D o n o t go to b e d o n t h e r a m p a r t s .

P u t b a c k o n t h e a r m o u r t h a t y o u took off w h e n y o u r e a c h e d t h e age of r e a s o n .

P u t o r d e r in i t s place, u p s e t t h e cobb les in t h e r o a d .

If y o u b l eed a n d y o u . a r e a m a n , w ipe t h e l a s t

word off t h e s l a te .

F o r m y o u r eyes by closing t h e m .

Give to. t h e d r e a m s y o u h a v e forgotten t h e v a l u e of w h a t y o u do n o t know.

113

ML

114

I h a v e k n o w n t h r e e footp la te -men, five w o m a n l e v e l c r o s s i n g - k e e p e r s a n d o n e m a l e l eve lc ross ing-keeper . W h a t a b o u t y o u ?

D o n o t p r e p a r e t h e w o r d s y o u yell.

l i v e in d e s e r t e d h o u s e s . T h e y h a v e only b e e n lived in by you .

M a k e a b e d of c a r e s s e s for y o u r ca re s ses . *

If t h e y c o m e k n o c k i n g a t y o u r duor, wr i te y o u r l a s t w i s h e s w i th t h e key.

+ R o b t h e m e a n i n g from s o u n d ; t h e r e a r e muffled

d r u m s in a m o n g t h e pa l e d r e s s e s :

S i n g of t h e g rea t , p i ty of m o n s t e r s . Br ing t o m i n d a l l t h e w o m e n s t a n d i n g o n t h e Tro jan h o r s e .

Do n o t d r i nk wa te r .

Like t h e l e t t e r 1 a n d t h e l e t t e r m , n e a r t h e midd le you will find a wing a n d a se rpen t .

S p e a k a c c o r d i n g t o t h e m a d n e s s t h a t h a s s e d u c e d you .

C lo the yourse l f in g l i t t e r ing co lours , it i s n o t t h e d o n e th ing . ;s

M,

115

- W h a t y o u find b e l o n g s to y o u on ly s o long a s y o u ho ld o u t y o u r h a n d .

Lie whi le b i t ing y o u r j u d g e s ' e rmine .

You a r e t h e p r u n e r of y o u r o w n life.

H a n g yourself , b r a v e Cril lon, l ike a p e n d u l u m , t h e y wil l s t o p y o u s w i n g i n g w i t h t h e i r " T h a t d e p e n d s . "

Tie d o w n t h o s e fa i thless legs.

Let t h e d a w n s toke u p t h e r u s t of y o u r d r e a m s .

L e a r n t o wai t , w i th y o u r feet fo rward . T h a t i s h o w y o u will go o u t o n e d a y soon , a n d well w r a p p e d up , too.

Light u p t h e perspec t ives of t i r e d n e s s .

Sell w h a t y o u n e e d t o ea t , a n d b u y s o m e t h i n g to s t a rve wi th .

Give t h e m a s u r p r i s e b y n o t c o n f u s i n g t h e fu tu r e of t h e ve rb "to have" w i th t h e p a s t of t h e ve rb "to be."

B e t h e glazier w i t h a s t o n e e m b e d d e d in t h e b r a n d - n e w p a n e .

116

If s o m e o n e a s k s to s e e t h e i n s ide of y o u r h a n d , s h o w t h e m t h e und i scove red p l a n e t s in t h e h e a v e n s .

O n t h e se t day , y o u will ca l cu la t e t h e r av i sh ing d i m e n s i o n s of t h e leaf- insect .

To u n c o v e r t h e n u d i t y of t h e w o m a n y o u love, look a t h e r h a n d s . Her face is lowered.

blood. S e p a r a t e c h a l k from coal , a n d p o p p i e s from

toe. Do m e t h e favour of c o m i n g i n a n d o u t o n tip-

Seml-colons ; s ee h o w a m a z i n g they a re , even in p u n c t u a t i o n .

Lie down, get up , a n d now lie down.

Unt i l t h e n e w order , t h e n e w m o n a s t i c o rde r , w h i c h i s t o s a y .unt i l , t h e m o s t b e a u t i f u l y o u n g w o m e n t a k e to w e a r i n g a decollete c u t in t h e form of a c r o s s : w i t h t h e t w o h o r i z o n t a l b r a n c h e s u n c o v e r i n g t h e b r e a s t s , t h e foot of t h e c r o s s n a k e d a t t h e b a s e of t h e belly; slightiy s inged.

F r o m all t h a t h a s a h e a d u p o n i t s s h o u l d e r s , a b s t a i n .

117

M a t c h y o u r gai t .to t h a t of s t o r m s .

Never kill a n ightb i rd .

Look a t t h e flower of t h e b i n d w e e d : it d o e s n o t h e l p y o u t o h e a r .

M i s s t h e a p p a r e n t t a rge t w h e n y o u s h o u l d b e p ie rc ing y o u r own h e a r t wi th t h e a r row.

T Perform mi rac l e s s o t h a t y o u c a n d e n y t h e m .

Be a s old a s t h e aged r a v e n w h o s a y s : Twen ty y e a r s .

W a t c h o u t for t h e fishwives of good t a s t e , t

D r a w in t h e d u s t t h e u n i n t e r e s t e d g a m e s of .your b o r e d o m .

D o n o t seize t h e t ime to s t a r t afresh.

Argue t h a t y o u r h e a d , u n l i k e a h o r s e c h e s t n u t , i s ent i re ly weight less b e c a u s e it h a s n o t ye t fallen.

S u g a r w i th a s p a r k t h e o t h e r w i s e b l a c k pill of

t h e anvil.

<. T h i n k , w i t h o u t b a t t i n g a n e y e l i d , w h a t

swallows could be like.

118

Wri te impe r i shab ly in s a n d .

Cor rec t y o u r p a r e n t s .

D o n o t k e e p a b o u t y o u offend c o m m o n s e n s e .

t h i n g s t h a t d o n o t

J u s t t h i n k t h a t t h i s w o m a n fits i n t o t h r e e w o r d s a n d t h a t t h a t hill i s a n a b y s s .

S e a l t h e t r u e love l e t t e r s t h a t y o u wr i te w i t h a c o m m u n i o n wafer profaned .

D o n o t fo rge t t o s a y t o t h e r evo lve r : I ' m de l ighted , b u t I d o t h i n k I h a v e m e t y o u s o m e w h e r e before.

T h e bu t te r f l i es o u t s i d e a r e on ly t ry ing to j o i n u p w i t h t h e b u t t e r f l i e s i n s i d e : d o n o t r e p l a c e i n yoursel f , if it s h o u l d h a p p e n to get^broken, a s ingle p a n e of t h e s t r ee t l amp .

C o n d e m n w h a t is p u r e — pu r i t y is c o n d e m n e d i n you .

Observe t h e light in t h e mi r ro r s of t h e bl ind.

Wou ld you l ike to own a t o n c e t h e sma l l e s t a n d t h e m o s t d i s t u r b i n g b o o k i n t h e w o r l d ? H a v e t h e s t a m p s from y o u r love le t t e r s b o u n d u p a n d w e e p -in sp i t e of everything, t he r e is good r ea son to d o so.

119

Never w a i t for yourself .

Look c losely a t t h o s e two h o u s e s : i n o n e y o u a r e d e a d a n d in t h e o ther you a r e d e a d .

T h i n k of m e w h o a m s p e a k i n g t o y o u ; p u t

yourse l f in m y p lace to a n s w e r .

, ...

B e a f ra id of w a l k i n g t o o i c l o s e t o t h e wa l l -

h a n g i n g s w h e n y o u a r e a l o n e a n d y o u h e a r y o u r

n a m e called. , •» r

W i t h y o u r o w n h a n d s w r i n g o u t y o u r b o d y over o t h e r bod ies : accep t t h i s pr inciple of hyg iene w i t h o u t f l inching.

On ly e a t b i r d s t h a t a r e in leaf: t h e a n i m a l t r e e

m a y b e sub jec t t o a u t u m n .

Y o u r f reedom wi th w h i c h y o u m a k e m e l a u g h

un t i l I cry is y o u r freedom.

M a k e t h e fog r u n a w a y from itself.

S e e i n g t h a t t h e m o r t a l n a t u r e of t h i n g s d o e s

n o t b e s t o w o n y o u t h e excep t iona l p o w e r of las t ing ,

h a n g yourse l f b y t h e root .

Leave it to t h e s tup id pillow to w a k e you up .

120

Cut down trees if y o u will, and break rocks too, but beware, beware the pallid light of utility.

If y o u look at yourself wi th one eye, c lose the other.

. Do not abolish the sun's red beams.

T a k e t h e third s treet o n t h e right, t h e n t h e first o n the left, y o u will come to a square, turn the corner by the cafe y o u know, take the first street on t h e left, t h e n the third o n t h e right, s t ick you r s tatue on the ground and stay put.

Without thinking what y o u will do with it, .pick u p the fan that w o m a n dropped.

go in. Knock on the door, shout "Come in," and do not

You have nothing to do before dying.

NOTES

1. The French reads Vtohncelle qui resiste, a pun on the phrase Violons celle qui resiste, meaning: "Let us rape her who resists." -Translator. 2. See Introduction for an explanation of how this passage derives from the pages of La Nature.

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Breton Eluard Immaculate Conception

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