Michael Richardson Quotes

A stubborn refusal of the conditions of 20th Century 'reality', surrealism has denied intransigently and consistently that modern man can live without a sense of wonder at the world that was once embodied in myth. In approaching literature, it has aimed at restoring to the word its magical qualities. And at giving back to language the elemental power it once had within society. This determinism lies at the heart of the surrealist attitude and distinguishes it radically from the modernism which took shape contemporaneously with it.

We can sum up the surrealist distinction between 'literature' and 'poetry' by saying where the former is artificial, fictive and elusive, the latter is natural, real, direct and spontaneous.

The real importance of automatism lay in the fact that it led to a different relation between the artist and the creative act. Where the artist had traditionally been seen as someone who invents a personal world, bringing into being something unique to his own 'genius', the surrealists conceived themselves as explorers and researchers rather than 'artist' in the traditional sense and it was discovery rather than invention that became crucial for them.

Surrealism also refuses the representation of reality: reality can only be; its existence proves its reality. Fiction thereby becomes impossible or is, by definition, false.

In this stillness that is at the same time movement, in this darkness that is at the same time light, change is found not in the realm of ideas but in the energizing desire that is realized through precipitation. Desire tends towards its own realization and change takes place when the desire for it shatters the bounds of the possible, breaking the dialectical equilibrium holding together the framework of what is existent. It is at such moments that the imaginary flows into the real and overwhelms it, inundating it until it has been absorbed.

The fantastic is in complicity with the realist model, in the claims that realism makes to represent the true face of reality. It points to the gaps and inadequacies of realism, but does not question the legitimacy of its claims to represent reality. The concept of “suspension of disbelief', that beloved criterion of positivist criticism supposedly serving to establish the legitimacy of the fantastic, confirms this hegemony.

Refusing what Adorno called that 'comfort in the uncomfortable' taken by the fantastic, surrealism seeks to reintegrate man into the universe.

The shifting sands of the world... show how much the surrealists were drawn towards an interrogation of what reality actually is. Unlike fabulists of whatever hue, there is a materiality in surrealist writing that resolutely keeps it, one might say, 'down to earth'.