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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 A Feeling for Nature 93 Love 101 The Idea of Becoming 107 THE ORIGINAL JUDGEMENT Notes 123 113

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.

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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. O n l y f o u r y e a r s later Bernadette S o u b i r o u s claimed to h a v e s e e n t h e V i r g i n a t L o u r d e s a n d r e p o r t e d t h a t t h e Virgin h a d t o l d 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 France w h e n Breton and Eluard composed this book i n 1 9 3 0 , 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 a l e a d i n g t e n e t of t h e Catholic 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 C a t h o l i c s w e r e identified. T h e m o s t d i r e c t a n d provocative r e f e r e n c e of t h e title is t h e r e f o r e t o t h e Virgin, r a t h e r t h a n t o C h r i s t ( a s English readers tend to assume); indeed the authorsc 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 c o v e r of t h e first e d i t i o n , t h o u g h t h i s w a s later dropped. T h e a u t h o r s ' title for t h i s w o r k w i t h i t s l e s s t h a n pious content should, however, b e s e e n hot o n l y a s a m o r e o r l e s s explicit a t t a c k o n C a t h o l i c dogma, b u t (among several readings), also a s a reference to t h e creative process to which 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 d e v o i d of l i t e r a r y o r i g i n a 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 . b e t w e e n 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 e x 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 e x t h a v e s i m i l a r d e l i b e r a t e

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 SURHALI|TES

atmtCmi, ii,Ktmrn tun.

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 e x p l a i n i n g the book's intentions. If r e l i g i o n , 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 religion, c a n be seen a s a r a t h e r craven a n d intellectually d e p r a v e d w a y for i n d i v i d u a l s to c o m e to t e r m s w i t h t h e world, o r r a t h e r t o s u b m i t to it; t h e n The Immaculate Conception describes the Surrealists' total opposition to this stance, both i d e o l o g i c a l l y a n d p r a c t i c a l l y . I n The Immaculate Conception Breton a n d Eluard describe the m e a n s t h e w o r l d e m p l o y s t o d e p r i v e t h e self of i t s f r e e d o m I n 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 b y w h i c h t h e self c a n r e c o v e r t h i s freedom. It Is a p o l i t i c a l a s well a s a p o e t i c t e x t a n d t h i s s y n t h e s i s i s t h e p e r f e c 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 world,' said M a r x ; ' C h a n g e life.'said R i m b a u d . F o r u s t h e s e t w o w a t c h w o r d s a r e a s one." 2 1 9 3 0 , it s h o u l d b e n o t e d , was the year when the Surrealists' break with the C o m m u n i s t P a r t y b e c a m e inevitable.. The Immaculate Conception was written during August and September 1930 in two phases: a l e t t e r from E l u a r d to G a l a d a t e d 2 7 t h A u g u s t r e f e r s t o t h e first s e c t i o n , 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 c o m p o s i t i o n ) . -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 h o t e l -A u Rendez-vous des Artistes i n the^ P a r i s s u b u r b of C e m a y - l a - V i l l e . T h e . t w o a u t h o r s w r o t e In p a r a l l e l

with a sheet written by Breton matching each sheet written b y Eluard; t h e texts were t h e n 'mounted,' or combined, by copying them onto a second 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 v e r y 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 the writing of the texts (Chenieux-Gendron e x p a n d s o n their role in t h e p r o c e s s of a u t o m a t i c w r i t i n g , a r g u i n g t h a t t h i s t e x t i s a r e n e w e d f o r m 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 titles 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 composed by the two authors. T h e e p i g r a p h of t h e first- s e c t i o n , Man, in referring to t h e "Good News Boulevard" (the Boulevard Bonne^Nouvelle i n , Paris) r e f e r s t o t h e G o s p e l , a n d t h u s b y i m p l i c a t i o n , t o C h r i s t . T h e title of t h e s e c o n d : s e c t i o n The Possessions, is a reference t o d e m o n o l o g y . T h e t i t l e of t h e l a s t j s e c t i o n , The Original Judgement is a n i n t e r e s t i n g c o n f l a t i o n of O r i g i n a l S i n w i t h t h e L a s t J u d g e m e n t , a n d t h e title 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 is n o t a C h r i s t i a n t e r m b u t a H e g e l i a n o n e : The Mediations. We k n o w t h a t Breton w a s rer 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 1 9 3 0 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 M a n i f e s t o . 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 , H e g e l w h i c h so influenced Bataille 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 ; H e g e l i a n i n f l u e n c e s a b o u n d i n The Immaculate Conception. f*

11 Man T h r e e of t h e five t e x t s i n t h i s s e c t i o n 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 a g e s . P s y c h o a n a l y t i c a l t h e o r y is a clear influence here, in particular Otto Rank's book 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 i b i d o i n t h e w o m b , a n d o u r n o s t a l g i a for t h i s , w h i c h after b i r t h c a u s e s a n x i e t i e s t h a t m a y l e a d to n e u r o s i s . R a n k d o e s i n fact refer t o t h e I m m a c u l a t e C o n c e p t i o n (in t h i s c a s e , 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 "ethicoTrellgious 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 i n Intra-Uterine Life c a n b e l i n k e d t o 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 w o r l d 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 i g h 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 . I n t h e f o u r t h s e c t i o n , Life, t h e r e c a l l of e a r l y c h i l d h o o d ; cari b e l i n k e d t o 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 origins. T h e o p e n i n g of t h i s text 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 i m e 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 l o c k w h i c h h a s s t a r t e d .to strike the hours"). T h e o r g a n i s a t i o n of t h i s s e c t i o n d e r i v e s largely f r o m 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 pre-eminence to childhood, in which h e sometimes i n c l u d e s t h e g e s t a t i o n p e r i o d a n d b i r t h ; -he g i v e s a d u l t life a v e r y m e a g r e t r e a t m e n t . H e 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, w h e r e t h e individual, n o w absorbed into "the r e a s o n of reality" h a s t o w o r k o u t a form of c o n c i l i a t i o n w i t h t h e " h a r d , c o m p a c t m a s s " of t h e w o r l d . H e s e e s n o need to d i s c u s s this at length a s t h e process c o n s i s t s of a n i n d i v i d u a l ' s c o n s c i o u s n e s s c o m i n g t o 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 y o u t h f u l d e s i r e t o t r a n s f o r m t h e w o r l d . 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 e v e r s e s this, i d e a : i n Life w e find t h e " p o w e r s of d e s p a i r " d r i v i n g p e o p l e t o a life i n c h a i n s . O n e could argue t h a t "hypochondria" a p p e a r s in the s e c o n d s e c t i o n of t h e b o o k a s T h e Possessions. Hegel's " a n t h r o p o l o g y " a l s o s t r e s s e s , old a g e a s "a s t a t e w h e r e t h e w o r l d is n o l o n g e r o f i n t e r e s t . " T h e l a s t s e c t i o n of Man, e n t i t l e d 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 , i n 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 r o m 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 i n d i f f e r e n t i a t i o n . T h i s is h o w ' H e g e 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 o v e r t h e i n d i v i d u a l , a n a b s t r a c t n e g a t i o n of t h e individual. The Possessions T h i s s e c t i o n i s c e r t a i n l y t h e m o s t 1 c e l e b r a t e d 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 s m 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 s e c t i o n , a s if it w e r e t h e w h o l e 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

12 e x e r c i s e 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 . Breton m a k e s clear that h e a n d Eluard had, not attempted to p u t themselves into t h e mental states t h e y w e r e d e s c r i b i n g in t h e s e t e x t s . " P o s s e s s i o n " 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 , implies t h e individual being 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 i m p l i e s r a t h e r p o s s e s s i o n b y t h e h i d d e n d e p t h s of the psyche. The psychoanalytical term: " d i s p o s s e s s i o n " w a s i n u s e a t t h i s .time t o refer t o m e n t a l i l l n e s s w h e r e a f e e l i n g of l o s s of s e l f accompanied, mental disintegration. Breton and Eluard seem to be asserting.that on the contrary the d e l i r i u m of t h e d e r a n g e d gives t h e m a n i n s t i n c t i v e form in w h i c h to e x p r e s s t h e i r "self." Hegel d e s c r i b e d m e n t a l i l l n e s s a s n o t " a b s o l u t e 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 contradiction in reason, which does not s e e m to e x i s t i n t h e s u b j e c t affected." T h e m a d m a n ' s m i n d is locked into "the p e r m a n e n t contradiction between i m m e d i a t e feeling a n d t h e r a n g e of m e d i a t i o n s which m a k e u p concrete consciousness." Naturally 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 o v e r c o m e : it is t h e w o r l d 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 i n The Possessions is set against the relationship to others a n d to the outside' world. i r Breton came across the concept of

13 "simulation" a s a p h e n o m e n o n in m e n t a l illness w h e n h e w o r k e d a t St-Dizier in 1916. Dr. Alain Rauzy, a psychiatrist, wrote a thesis on The Possessions,5 a n d concluded t h a t t h e y a r e wholly convincing, with the reservation only t h a t the m e t a m o r p h o s i s into a bird in t h e "interpretative d e l i r i u m " is r a t h e r t o o e x c e p t i o n a l a form of d e l i r i u m . The c h o i c e of a b i r d for t h i s s u b j e c t m a y well d e r i v e from t h e figure of Loplop, k i n g of t h e b i r d s , c r e a t e d by Max Ernst. 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 respectability." He concludes: "The stylistic p e c u l i a r i t y of t h i s t e x t p r o b a b l y d e r i v e s from t h e i n c o n g r u i t y b e t w e e n i t s v e r b a l fertility, o r l o g o r r h e a , w h i c h serves only to reconstitute cliches, a n d its imaginative poverty." Attempted Simulation of Acute Mania Rauzy characterises the maniac's verbal p a t t e r n as: "the desire to be recognised," which a p p e a r s i n t h e f o r m 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 i d e a s , b a s e d o n p u n s a n d a s s o n a n c e , with o c c a s i o n a l a p p a r e n t l y logical sections "amid t h e extravagance." He n o t e s h o w Breton a n d E l u a r d ' s text mimics profoundly "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 a u d i e n c e , in fact only s e r v e s to d r e s s u p , in a multicoloured b u t p a t c h e d - u p

14 costume, a n intolerable moral disarray, which is visible t h r o u g h t h e holes."

15 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 references (among o t h e r things) to h a s h i s h s m o k i n g a n d to various fascist politicians 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 re-scrambled into a roughly equivalent English g i b b e r i s h . H e r e , a t l e a s t , it w a s i m p o s s i b l e t d t r a n s l a t e literally. The Mediations A s m e n t i o n e d e a r l i e r , t h e title of t h i s s e c t i o n c a n b e t a k e n t o refer t o t h e H e g e l i a n c o n c e p t of m e d i a t i o n . This can roughly be described as the movement by w h i c h c o n s c i o u s n e s s c e a s e s t o b e a b s o r b e d i n itself a n d goes b e y o n d its i m m e d i a t e form s o a s to o p e n itself t o t h e w o r l d , a n d s i m u l t a n e o u s l y t o 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 r e a l i t y . In* m a d n e s s , t h e sub) ect is s m o t h e r e d by i m m e d i a t e feeling. Mediation is the process whereby the immediate b e i n g I s p r i z e d o u t of i t s e 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 n e g a t i o n , a s it n e g a t e s i m m e d i a c y - Hegel refers t o it a s " a b s o l u t e negativity." T h i s n o t i o n of "negativity" s h e d s s o m e light o n t h e p o e t i c t r a n s p o s i t i o n s t o ;be found.in this section; t h e texts here a r e more or less t r i c k - t e x t s , t h e r e s u l t of g a m e s s u c h a s c o m p l e t e l y r e - w r i t i n g a n e x i s t i n g t e x t (after t h e m a n n e r of Lautreamont), * or collages c o n s t r u c t e d from fragments of n d h - l l t e r a r y s o u r c e s . It is p l a u s i b l e t h a t the-title T h e Mediations may h a v e s u g g e s t e d t h e u s e of " m e d i a t i n g " t e x t s . It i s

Attempted Simulation of General Paralysis D r R a u z y n o t e s t h a t " t h e l a n g u a g e of p a r a l y t i c s Is r i c h i n s u p e r l a t i v e s , h y p e r b o l e , r e d u n d a n c i e s a n d r e p e t i t i o n s " uplifted b y " i n t e n s e l y r i c i s m " i n w h i c h " t h e i n f i l t r a t i o n 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 all s o r t s of a b s u r d i t i e s a n d s t e r e o t y p e s . " Attempted Simulation of Interpretative Delirium W i t h Dali f o r m u l a t i n g h i s t h e o r y of p a r a n o i c a l c r i t i c a l a c t i v i t y a t t h e t i m e The Immaculate Conception was written, this particular delirium 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 r p r e t a t i v e d e l i r i u m b e i n g o n e of t h e t w o clinical f o r m s of p a r a n o i a (the o t h e r is demand delirium). A s m e n t i o n e d above, Rauzy found t h e bird subject r a t h e r t o o exceptional t o b e realistic. Attempted Simulation of Dementia Praecox R a u z y details here t h e syntactical dislocations, p r o b l e m s w i t h a s s o c i a t i o n of. i d e a s , 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 a u t i s t i c d e l i r i u m m a r k e d b y e x c e s s i v e u s e of t h e first person singular; also the "concentraton in one s i n g l e 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 i n a c t u a l c a s e s a r e s p r e a d over l o n g p e r i o d s of time." T h e d e s c e n t i n t o g i b b e r i s h of t h e l a s t s e c t i o n of t h i s t e x t p r o v i d e s a p a r t i c u l a r l y i n t e r e s t i n g c h a l l e n g e for

.16 c l e a r f r o m t h e m a n u s c r i p t s t h a t t h e t i t l e s of t h e texts preceded their writing. There were several 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 l e s of t h i s . s e c t i o n . A f i r s t l i s t u n d e r t h e h e a d i n g Mediations read: Woman. Beauty. Knowledge. Justice. These, were crossed 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. This then 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 its final form: Force of Habit. Surprise. There is nothing incomprehensible. A Feeling for Nature. Love. Revolutionary Hope. I n t h e final t e x t t h e first p i e c e is Force of Habit; h a b i t i s d i s c u s s e d b y Hegel i m m e d i a t e l y a f t e r t h e p a g e s d e s c r i b i n g m a d n e s s . H a b i t m a y relieve s o m e of t h e w e i g h t of e v e r y d a y life, b u t it h o l d s t h e m i n d b a c k from t h e t h r e s h o l d of freedom. , T h e s e c o n d p i e c e is e n t i t l e d Surprise, a c o n c e p t central to Breton's thinking, b o t h a s a n aesthetic 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 t o t h e S u r r e a l i s t s ' i d e a of "objective chance." T h e title of t h e t h i r d p i e c e 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. The text u s e s a Lautreamont-style technique t a k i n g a n e w s p a p e r a r t i c l e a n d r e w r i t i n g it t o q u i t e d i f f e r e n t effect. T h e a r t i c l e i n q u e s t i o n (from

17 LTntransingeant for 1 1 t h S e p t 1 9 3 0 ) d e s c r i b e d a c o n c e r t p l a y e d 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 alpine resort. Breton and Eluard replaced the 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 B r i n v 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 Tagliafero, a n d V a c h e r , H a a r m a n , S o l e i l l a n d a n d T r o p p m a n h r e p l a c e r e s p e c t i v e l y "the v i o l i n i s t s J o s e p h Szigetl, a n d N a t h a n M i l s t e l n ; t h e p i a n i s t V l a d i m i r Horowitz, a n d t h e c o n d u c t o r Felix W e i n g a r t n e r . T h e c h o i c e of t h i s article will h a v e b e e n i n f l u e n c e d b y B r e t o n ' s f a m o u s d i s l i k e 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 i n " t r e a t i n g " 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 completely c o n t r a d i c t s t h e title. 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 b y " a r t i s t s i n c r i m e " a l s o h a s a H e g e l i a n r e s o n a n c e Hegel s a w "crime, like m a d n e s s a s a n "extreme state." Soleilland 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 i n g o i n g b e y o n d w o r d s -tor action. A Feeling for Nature i s a l s o a l u d i c t e x 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 h e a r t i l y d e s p i s e d b y the Surrealists, is challenged by the Hegelian/Marxist idea * that m a n should tame the u n i v e r s e b y m e a n s of k n o w l e d g e 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. T h i s s e c t i o n is b u i l t u p from i l l u s t r a t i o n s ' a n d a r t i c l e s 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" ( t h i s 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

18 p r e v i o u s l y m o d e l l e d t h e c o v e r s of La Revolution surrealiste o n t h o s e of La Nature, t o give t h e i r reveiw a "non-artistic" appearance). Breton a n d Eluard have arbitrarily thrown together expressions a n d u n r e l a t e d i m a g e s ; 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 c o v e r y of a n e w s p e c i e s of p o d u r e l l e (a t i n y reddishTOrange-coIoured i n s e c t ) o n the s n o w in the Great Saint Bernard, range a t t h e F e n e t r e P a s s . " M u s k from t r o u t h e a d s " d e r i v e s from a 1 8 9 5 a r t i c l e d e s c r i b i n g h o w t h e i n s t a l l a t i o n of a n artificial 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 especially t h e t r o u t , 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 b u t t e r f l y c o m e s from t h e 1 8 8 9 v o l u m e , w h e r e a n a r t i c l e 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 l o s s o m . B r e t o n e v e n 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 c a p t i o n , from t h i s v o l u m e T h e s w a l l o w - b e d e c k e d h a t of a P a r i s i a n l a d y i n 1889." I n Love, r e c i p r o c a t e d love is c e l e b r a t e d for i t s p o w e r t o o v e r c o m e t h e i m p e r f e c t mediations, and b r i n g a b o u t t h e s y n t h e s i s of o p p o s i t e s . M o s t of t h e c h a p t e r is a . r e - w r i t e of t h e K a m a S u t r a , i n a p o e t i c displacement which emphasises the systematic n a t u r e of e r o t i c i s m , a n d g i v e s m o r e i m p o r t a n c e t o the n a m i n g t h a n t h e positions. T h e Idea of BecomingIs. a* n o t i o n c e n t r a l t o t h e H e g e l i a n s y s t e m : " t h e t r u t h of b e i n g is b e c o m i n g " 4 s a m a x i m which went on to b e t a k e n u p by Marx a n d

19 E n g e 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 (although only temporarily a party 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 philosophical p h r a s e , r a t h e r reflects t h e w a y in w h i c h t h e v i s i o n of " h u m a n p e r f e c t a b i l i t y " w i t h which t h e text opens, is gradually overtaken by a p e s s i m i s m w h i c h c o n i e s close t o d e s t r o y i n g all faith, i n t h e p o s s i b i l i t y of p r o g r e s 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 i c y c l e 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 l o w e d t h e two w r i t e r s 'to g o -beyond t h i s g l o o m y c o n c l u s i o n t o .the i d e a of f o r w a r d ' m o v e m e n t by united humanity. 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 i a l e c t i c a l m o v e m e n t referred t o i n t h e " i n s e r t " (see below) b e y o n d t h e o p p o s i t i o n 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 o f t e n 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 Pythagoras and beyond, to preach not the t r a d i t i o n a l w i s d o m of t h e g o l d e n 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 arid r e b e l l i o n . A s 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 all t h a t s p e a k s a b s u r d l y of expiation, 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 a v o u r of c o n s e r v a t i o n . " The- l a s t

E=

20 word of t h i s section,, "dying," perfectly c l o s e s t h e disenchanted circle which opened with "Conception." T h i s i n t r o d u c t i o n i s followed b y t w o t e x t s relating t o The Immaculate Conception: Breton a n d Eluard's Notes on a collaboration p u b l i s h e d i n Les Cahiers d'art, N o s 5 - 6 , 1 9 3 5 , a n d t h e u n s i g n e d "insert" i n t h e first e d i t i o n of The Immaculate Conception. This, s e c o n d p i e c e i s a t t r i b u t e d b y H u g n e t i n h i s Petite Anthologie Poetique du Surrealisme of 1 9 3 4 to Salvador Dali; it s e e m s likely t h a t Breton and, Eluard h a d a h a n d in it; if nothing else, s o a s t o correct Dali's Imperfect French (he h a d o n l y left S p a i n i n 1928). B u t t h e text r a i s e s t h e i n t e r e s t i n g q u e s t i o n of Dali's r e l a t i o n s h i p to The Immaculate Conception. T h e anti-religious orientation of t h e Surrealist g r o u p h a d b e e n intensified b y Dali's arrival i n Paris, p r e c e d e d b y t h e r e n o w n of Un Chien Andalou. T h e c h o i c e of The Immaculate Conception a s a title s t e m s from t h i s context; Dali drew t h e illustration for t h e cover of t h e first edition of t h e book a s well a s t h e frontispiece and_some marginal s k e t c h e s w h e n a part of it w a s p u b l i s h e d separately in La Revolution surrealiste. Jacqueline Chenieux-Gendron argues t h a t Dali w a s "the p e r s o n to w h o m t h e s e p a g e s were written," o n t h e b a s i s t h a t Breton a n d Eluard were w r i t i n g t h e m ; in o r d e r t o 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 a g a i n s t Dali's d e s c r i p t i o n of it a s a "passive state" i n h i s r e c e n t l y p u b l i s h e d article

21 L'Ane Pourri w h i c h promoted h i s "paranoic-critical" p r o c e d u r e . T h e fact t h a t Eluard w a s reporting to G a l a d u r i n g t h e writing of t h e t e x t (Gala h a d left Eluard for Dali a n d w a s w i t h h i m i n Catalonia at t h e time) g i v e s c r e d e n c e t o t h i s i n t u i t i o n a n d n e a t l y r o u n d s o u t t h e s t o r y of t h e g e n e s i s of t h i s m u l t 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.

N O T E S ON A COLLABORATION I n d e c l a r i n g t h e i r differences, m e n w i s h t o b e a l i k e . 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 d e r i v e t h e i r value. T o b e t w o t o g e t h e r d e s t r o y i n g , b u i l d i n g , living, i s a s g o o d a s b e i n g e v e r y o n e , 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 o n e s e l f . E v e r y r a y of sunshine bears a snbwflake, every hand o u t s t r e t c h e d b e a r s a look w e k n o w . 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 p o s s i b i l i t i e s 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 f o r m 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 . B e t w e e n m a n a n d w o m a n it w o u l d b e t h e v e r y n e g a t i o n of t h e i r r e s p e c t i v e roles. This book w a s written in a fortnight, a n d we 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 e a s i e r . B u t a b o v e all it p r o m p t e d u s t o o r g a n i s e it i n s u c h a w a y t h a t a p o e t i c p h i l o s o p h y e m a n a t e d from it 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 l e a d to t h e d e v e l o p m e n t of a r e a l p h i l o s o p h y of p o e t r y . (According to Bonnet the foregoing entirely by Eluard for a Japanese 23 text was edition written of T h e

24 I m m a c u l a t e C o n c e p t i o n . 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 is 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 deliria, c a t e g o r i s e d o r o t h e r w i s e , will h a v e n o t o n l y 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 i g h t unforeseen a n d totally new poetic forms, b u t also t h e t r a n s c e n d e n t e f f e c t . of s a n c t i o n i n g i n a n e x e m p l a r i l y d i d a c t i c m a n n e r , t h e free c a t e g o r i e s of thought which culminate in mental derangement. The Immaculate Conception will b e t h e e x p e r i m e n t a l s o u r c e t o w h i c h o n e will h a v e t o 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 s u c c e s s i v e l y all t h e m o d e s of m a d n e s s ; t o r e c o g n i s e t h i s p o w e r is e q u i v a l e n t t o a d m i t t i n g t h e r e a l i t y of t h i s m a d n e s s a n d a f f i r m i n g i t s l a t e n t existence in t h e h u m a n mind. The Immaculate Conception is t h e book t h r o u g h which, despising genealogy, we enter 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 desires, t h a n k s to the possessions a n d the mediations, which are roughly opposed to o n e a n o t h e r in t h e social sense, b u t dialectically 25

26 reconcilable. TTie Immaculate ideal "Possession." Conception i s t h e book of t h e

T H E IMMACULATE C O N C E P T I O N

M A N

CONCEPTION "Let us go down, the Good News Boulevard, and make a show of it." V W day contained between two other J H | ^ P days, a n d a s u s u a l t h e r e is n o night ^fk W w i t h o u t s t a r s , t h e l o n g b e l l y 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 o n l y o n e visible, -the o n l y o n e t h a t i s r e a l in t h e w h o l e c a s c a d e . E v e r y t h i n g t h a t h a s b e e n s o m a n y times u n d o n e is coming a p a r t once more; e v e r y t h i n g t h a t t h e w o m a n ' s belly h a s s o m a n y times undertaken, in keeping her pleasure purer t h a n t h e c o l d n e s s of feeling a b s e n t from h e r s e l f , is u n d e r t a k e n o n c e m o r e . A wild b e a s t c o u l d b e b e s i d e y o u 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 . T h i s is n o t t h e gift t h a t y o u w o u l d like t o m a k e i n o n e p i e c e 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 w o u l d like t o h a v e received, s i n c e t h e w o m a n ' s l o n g belly is a s m u c h h e r belly a s t h e d r e a m , t h e o n l y d r e a m is t o h a v e n o t b e e n b o r n . Night a s u s u a l is s o sufficient. I g n o r a n c e d o e s s o 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 s e s . W e 31

32 h a v e b l o w n h a r d o n t h e coals, w e h a v e looked h a r d a t e a c h o t h e r till w e lost s i g h t of o u r s e l v e s . A m o m e n t ago, j u s t a m o m e n t ago... w e w e r e 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 i n a g r e a t b u r s t of laughter. M a n does n o t r e p r o d u c e himself. He h a s n e v e r p e o p l e d h i s b e d e x c e p t w i t h t h e a r d e n t e y e s of h i s love. H e p r e s u m e s t h e p r o b l e m 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 r e l y solved. R a g m e n h a v e s o n s w h o a r e r e a l l y t h e s o n s of k i n g s , s o n s w h o o n o p e n i n g t h e i r e y e s t a k e t h e 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 . F a m i l y m e n will h a v e n o n e of it. Desire alone gets b e h e a d e d . Make way, s a y s t h e d r i v e r of t h e old o m n i b u s , t h e d r i v e r w h o will l o o k like y o u , w h o will look like m e , w i t h o u t pity for t h e h o r s e s w i t h t h e i r sea-of-oil h e a d s . A n d a s h e i s v e r y polite, w h e n h e s a y s , " M a k e W a y , " 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 a n c e . One s h o u l d : r e m a i n the same,forever, in this disconcerting gymnastic position, holding one'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 r e f u s e s to k e e p its n a m e . Luckily y o u - k n o w n o t h i n g a b o u t t h i s . You b a r e l y g l a n c e a t t h e image in the m u r a l depicting Mazeppa, alone a n d b e w i l d e r e d o n 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 w a l l s h e r e t h a t y o u will n e v e r b r e a c h , w a l 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 , w a l l s t h a t a r e forever t h e c o l o u r of b l o o d , of blood t h a t h a s b e e n 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 l o v i n g l i g h 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 sundial. Cross-bones, cross-words, _ 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. Where should one begin? Fish a r e b o r n f r o m 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 T i e r r a del Fuego, it is n o m o r e difficult t h a n h i s egg. G r e a 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 allows t h e g h o s t to d e n y t h e reality of t h e f o r m s 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 p o i n t . T h e frozen g e s t u r e s of s t a t u e s i n t h e i r m o u l d s h a v e given u s t h e s e i m p e r f e c t , g h o s t l y 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 h a i r of p o e t s . From one river b a n k to the other 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 fantastic 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 33

34 t o h a t e all t h a t h e e m b r a c e s . T h e i r s o n g s a r e j u s t t h e t h i n g t o c a r r y m e away, b u t y e t a r e a l s o c a r r i e d a w a y like h o m i n g pigeons with c a m e r a s which 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 e y e s 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 r e y . 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 e v e a l s itself o n l y i n s l e e p . It is i n t h e s h i n i n g l i g h 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 d i v e r . F r o m o u t s i d e it i s a n a d m i r a b l e sling, from w i t h i n it is a b i r d . B r a m b l e s t e a r it a n d b l a c k b e r r i e s s t a i n it 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 w i t h light. 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 t o it s i n c e I d i s c o v e r e d it. T h e d o e b e t w e e n t w o l e a p s likes t o l o o k a t m e . I k e e p h e r c o m p a n y in t h e c l e a r i n g . I fall slowly from t h e heights, I only weigh n o w t h e a m o u n t you 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 chandelier t h a t lights m e b a r e s its 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 c h o o s e . They a r e pierced by great dead b r a n c h e s . T h e valves t h a t o p e n a n d close i n 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 c o u l d sing to a two beat rhythm: I cry out, h o one h e a r s me, I dream. 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 let c o l o u r s s h o w t h r o u g h like s o m a n y u s e l e s s s e c r e t s . I will, t h e y say, see. I will, t h e y see, h e a r . Silence a s far a s - t h e eye c a n s e e is t h e k e y b o a r d t h a t s t a r t s

35 w i t h t h e s e t w e n t y fingers t h a t a r e n o t . My m o t h e r is a s p i n n i n g t o p for w h i c h m y f a t h e r is t h e w h i p . To s e d u c e t h e w e a t h e r I a m decked o u t with s h i v e r s , m y b o d y r e t u r n i n g t o itself. O h l t o 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 a n d l T o live a s o n e m u s t k n o w h o w t o tie o n e ' s v e i n s i n t h e b a t h ! O h , t o t r a v e l o n jellyfish b a c k , s k i m m i n g the surface and then plunging into the depths; to h a v e t h e a p p e t i t e of b l i n d fish, b l i n d fish t h a t h a v e t h e a p p e t i t e of b i r d s w h i c h s c r e a m a t life! H a v e b i r d s b e e n h e a r d s i n g i n g a r o u n d four i n t h e a f t e r n o o n i n 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 e e n covering t h e n i g h t w i t h i t s d e a d w e i g h t , a s a fire c o v e r s c i n d e r s ? F o r s u n s I h a v e t h e m o v e m e n t from flame t o 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 s h o w e r . B e w a r e ! I a m e x p e c t e d . D a y a n d n i g h t will b e w a i t i n g a t t h e s t a t i o n . I s h a l l n e v e r r e c o g n i s e t h e m if I a m weighed d o w n w i t h t h e b a g g a g e of j u s t i c e .

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 ^HHHF b e confused with t h e child, b l a c k a s ^ B ^ ^ P t h e f u s e of a b o m b l a i d i n t h e p a t h of ^ B ^ ^ K p a sovereign (the man) by t h e worst 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 w o m a n ) . A p a r t from t h i s , 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 i n s i p i d , or t h e sewer-like cradle into which h e is tipped w i t h t h e d i r t y 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 p e o p l e w a i t i n g for h i s c o m i n g like t h e c o m i n g of a n obedient phoenix. Their neighbour m a i n t a i n s h e is m a d e in t h e i m a g e 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 t o 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 i n c l i n e d t o 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 t h o n e foot o n i d l e n e s s a n d t h e o t h e r o n w o r k . H e k e e p s h i s p r o m i s e s to all of t h e m . T h e y 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 . 37

38 Everywhere they say that he favours with his p r e s e n c e a world t h a t could n o longer do 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 all fours, t h e o n e w h o c a n b e relied o n t o c a u s e a d e r a i l m e n t w i t h a view of a bridge a s celebrated in t h e Illustrated News. He w e a r s t h e lifebelt o n a c h a i n r o u n d h i s n e c k . "Dad" i s a m o o n - s h a p e d d i s c , " M u m " is n o w a s c o n c a v e a s t h e crockery. T o 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 m a n t e l p i e c e , a r a y of h o n e y c o m e s to d o i t s h a i r i n 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 n o b o d y h e r e . T h e r e n e v e r h a s b e e n anyone here.

LIFE r o m t h e J a p a n e s e flower t o ' t h e ^ ^ 0 ^ L galvanised 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 t o t a k e i n all ^ ^ 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 ^ ^ ^ w r e s t l i n g c l i n c h to t h e w i n d o w w h i c h i s a b r a w l , t h e floor i s a p a r r o t a n d t h e ceiling a c r o w w h i c h h a s h a d a fright. T h e r e i s still t h e m e m o r y of t h e d a y t o c o m e , t h e m e m o r y of a t r o c i o u s 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 r e v e n t h i m h u r l i n g h i m s e l f i n t o 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 t o s t r i k e t h e h o u r s . T h e d a w n of filtered e v e n i n g r e m i n d s h i m of c l e a n 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 l w a y s ' v a n i s h e s w i t h a s o u n d of r e e d s . F o r 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 d o s o like 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 liberty. A w h o l e 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 a g e r e t u r n i n g t o 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 . T h e ^ e v e n i n g s h u t s t h e d o o r in v a i n , a r o a d of footsteps, n o i s e s , h o p e a n d t i r e d n e s s always shows him those vast black buildings where e v e r y t h i n g t a k e s s h a p e for h i m . 39

40 G r a d u a l l y t h e v a g u e replaces t h e definite. B l o t t i n g p a p e r s p r e a d s i n s t e a d of b l o o d , t h e s a m e p a p e r t h a t blots h i s letters w h i c h a r e still o b s e s s i v e l y p o s t m a r k e d C r e u s o t . P u r e e y e s of c l o u d settle on h i m a s a bird l a n d s on its shadow. With their s t o n e skirts l a m p s sweep t h e silver 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 s e e k i n g 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 . It s t r u g g l e s w i t h t h e d e l i c a t e 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 t e h o u r d u t y , 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 p o w e r s of d e s p a i r w i t h t h e i r r o s e s of soap, their misplaced caresses, their ill-dressed dignity, a n d their moving a n s w e r s to granite q u e s t i o n s , t a k e h o l d of h i m . T h e y l e a d h i m t o t h e s c h o o l of s l a g , after r i g g i n g h i m o u t i n a n a p r o n of fire. T h e y c o n v i n c e h i m t h a t t h e w i t c h e s ' b r o o m s t i c k p r i c k s right, i n t o a g r o t e s q u e e t e r n i t y of b r i l l i a n t l y 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 troubling to p u t a h a n d over h e r m o u t h , , t h e y h i r e h i m t h e f r u i t s of w o m a n w i t h a s m e 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 i m e , t h e y h i r e h i m t h e r e f u s a l of t h a t b e a u t y a n d t h a t time. O n e m o r n i n g h e is there, 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 h a l l o w i t h all i t s w h e e l s . Of all t h e s t a r s t h i s o n e . . . 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 t o t h a t u n f o r g e t t a b l e s t a r . . . He i s s o perfectly a l o n e t h a t

41 w> i e x c e p t e d 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 e n s t o t h e m u s i c * w shines o n h i s shoes. At noon, sometimes, 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 all h i s s e n s a t i o n s h e s l i p s t h e bandcuifeofasmile.

DEATH m o i r e c l o t h 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 ferret p a s s e s from h a n d to h a n d i n t h e f o r m of a s c o r p i o n i n t o t h e e e l p o t of wickedness. Come, little 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 t h e r e ! driver (he gets out of his seat and runs away). W a i t , I did r e m e m b e r a n a m e . . . A s p a d e f u l of d i a m o n d s for w h o e v e r b r i n g s m e b a c k t h e dog t h a t I o n c e w a s ! A n d I h a v e n o t f o r g o t t e n a n y t h i n g . T h e r e is still o n e b o t t l e of b l o o d for a n y o n e w h o will u n d e r t a k e to live w i t h t h e i m a g e s I did h o t w a n t . I a m feeling h o r r i b l y b e t t e r . T h e v a i n w o r d s t h a t h a d b e e n p u t into my m o u t h are beginning to have a n effect. My fellow m e n a r e l e a v i n g m e . W i t h m y h a n d i n t h e lion's m a n e , I s e e t h e d e c e p t i v e h o r i z o n t h a t will lie t o 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 e v e r y t h i n g , e v e n i t s lies i n t h e form of p e e l i n g s , a n d t h e little w a l k it t a k e s w h e n it a l w a y s g o e s p a s t m y h o m e . Nothing s e r v e s 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 g o t t h r o u g h it if I h a d to, w e r e it n o t for t h a t l i t t l e history question. How lucky I was not a candidate. My t r a v e l s h a v e a l w a y s t a k e n m e t o o far. T h e c e r t a i n t y of a r r i v i n g h a s n e v e r s e e m e d m o r e t o m e 43

44 t h a n t h e h u n d r e d t h ring o n t h e bell a t a d o o r t h a t does not open. Even suffering 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 like a V e n e t i a n b l i n d c a m e to go s t a l e o n m y b e d , I realised I m u s t b e cold. I w a s cold. B u t y o u t h s t o o d w a t c h : in fact I h a d h a r d l y suffered. I m u s t c o n f e s s 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 o v e r 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 not. 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 e x p l a i n e d 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 on its a n t e n n a e progress which limps 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 l e a v e s e v e r y t h i n g to p e r i s h . T h e s o u n d of its voice is a s c a r . H e r e is t h e g r e a t b l e a t i n g s q u a r e . T h e s h e e p a r e a r r i v i n g a t full s p e e d , o n stilts.

THE

POSSESSIONS

T h e 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 47

T 48 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 49 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 realised t h a t to rise to 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 own value than I had. I maintained a long t i m e a g o t h a t v i r t u e i s n o t a p p r e c i a t e d , b u t t h a t m y father w a s right w h e n h e w a n t e d m e to raise myself h i g h a b o v e 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 t o s e e 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 v a l o u r a n d m i n i n g e n g i n e e r s w h o g r a d u a t e from t h e Polytechnique. 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 e c o g n i s e s m e r i t ' w h e r e t h e r e is n o n e . Of all d i s t i n c t i o n s , 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 d o w i t h o u t a d i p l o m a . My f a t h e r g a v e h i s five c h i l d r e n , b o y s a n d - g i r l s , .the b e s t e d u c a t i o n a n d a good upbringing. A n d n o t so t h a t they would accept a barely-remunerated j o b in a n 51

52 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 . A n d t h e proof i s t h a t w h e n s o m e o n e is c a p a b l e , like m y e l d e r b r o t h e r , w h o h a s assisted on several occasions in t h e papers, of s c o r i n g a b u l l s e y e 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 s c i e n c e , 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 s u f f i c i e n t u n t o t h e d a y , a s t h e p r o v e r b goes. I n 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 t o offer t o t h e M i n i s t r y of D e f e n c e . T h e c a p t a i n ' s c a b i n i s d r a w n in red ink a n d the torpedo c a n n o n s are t h e latest hydraulic model, with artesian control. C y c l i n g c h a m p s d o not"*show g r e a t e r e n e r g y 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 c o n v i c t i o n t h a t this invention m u s t b e a success. Everyone 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 r a t e r n i t y , a n d , m a y I a d d , m u t u a l Solidarity. B u t t h a t is n o r e a s o n n o t t o d e f e n d o u r s e l v e s 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 written a secret letter on vellum paper to t h e P r e s i d e n t of t h e R e p u b l i c , r e q u e s t i n g to see. h i m . 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 o o m u c h leave. However h u m b l y a soldier k n e e l s before h i s C O . , o r d e r s a r e o r d e r s . D i s c i p l i n e 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 a w a r d e d " a t r a n d o m a n d Marechal Foch thoroughly deserved to b e Marechal Foch. Free thinking m a d e t h e m i s t a k e of n o t devoting itself t o t h e service of F r a n c e . I a l s o feel s t r o n g l y 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 L e a g u e for t h e R i g h t s of M a n i n t h i s

53 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 collars. B e s i d e s , it is u p t o t h e m t o 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 G r e e c e 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 t u f f . Still, m a n b e l i e v e s i n G o d 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 u n c t i o n , w h i c h is a s t e p i n t h e right d i r e c t i o n .

ATTEMPTED SIMULATION O F A C U T E MANIA ood m o r n i n g g e n t l e m e n , good evening ladies and the assembled Gas Company. Mr President, I a m at your disposal, I have a black Chinese l a n t e r n o n m y bicycle. T h e c a t , t h e dog, m y m o t h e r a n d m y f a t h e r , m y c h i l d r e n , t h e eagle i n h i s little c a r t , all t h e s e p o o r s p e c i m e n s h a v e b e e n p u t into t h e wagon whose hinges t u r n a n d turn, a n d t u r n . F r o m o n e b r i d g e t o t h e n e x t t h e n e e d l e s fall like s o m a n y s a b r e s l a s h e s . T h e c e m e t e r y Is a t t h e e n d of t h e village c l o s e t o t h e s t a t e l y c o t t a g e . - N o n e of w h i c h h e l p s , t o re-forge family l i n k s i n t i m e s of f a m i n e . Coquettes' cockra-doodle-do's enliven t h e lines o n t h e w r i t e r ' s p a g e . 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 i g h s p e e d , B a z a i n e 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 y o u , m y fellow, a r e not there; y o u a r e holding a watering can, you:have l o s t a leg, w h i c h m a k e s t w o 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 c o l l e c t j u i c e . I n 1 9 3 0 I h a v e a private income. 55

56 Suffering s u n s t r o k e a t t h e t o p of t h e s k y , 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 h e l p , b u t h a l o a n d dignity is t h e b e t t e r for it. I h a v e foolproof w a y s of c o l l e c t i n g 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. S o a s t o r e - r e a d t h e m b y t h e fireside I k e e p b y m e t h e w o r k s of t h e T i t a n s a n d T a n t a l u s e s . I d o n o t n e e d to i n c l u d e t h e m i n t h e i n v e n t o r y of m y i n v e n t i o n s . P a i n t i n g i s p r o m o t i n g i t s e 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 i v e s m e s o r b e t . S c y t h e s in m y e y e s e c l i p s e t h e b r e a s t p l a t e . O n t h i s p o i n t I w i s h - t o notify t h e police: w e d o n o t c o n f o r m 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 w e a r e h u n g from corbels, s i x t y feet u p , is n o t e n o u g h r e a s o n for u s t o yell "Whoa!" a t dead trees. Mary's marriage was c o n s u m m a t e d amid a n o v e r f l o w 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 w o r k . H e m i x e d too m a n y s t y l e 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 e v e n i n g s . T h e belly k e e p s e v e r y t h i n g alive in i t s h a n d . Personally I like to lie o n t h e belly, provided it i s n o t a l w a y s m y o w n , of c o u r s e . W o m e n a r e s m a l l h a n d s i n P a r i s , big h a n d s i n t h e country. They swallow t h e s p a r r o w s in t h e Luxembourg gardens. I do not 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 t o 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 t e r n i t y . E t e r n i t y 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 t h a n a d v o c a t e w h o a d v o c a t e d : ;never confess. The recruitment c o m m i t t e e failed m e i n m y foresight t e s t .

57 I w o n a h u n t i n g lodge. A g a 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 t o e n d : I c o l l e c t t h e b e t s . -The f a r m e r h a s a h a t w h i c h I h a v e w o r n , 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 p o r t r a i t of m e w i t h m y feet In t h e a i r (it is a h a t ' s eye view). T h e c h i l d r e n p l a y i n g r o u n d t h e m g e t a smack.^ If w e w e r e t o c u r d l e blood t h e w a y w e d o milk, p e o p l e would c o m m e n t . Bismarck said to m e t h e other day: "Take y o u r t i m e , I h a v e q u i t e h a p p i l y t a k e n Alsace." W e w e r e h a v i n g a g l a 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 t h e y a r e r a i s i n g a gibbet. T h e only goal I h a v e is t h e s y m b o l of t h e p r a y e r I a d d r e s s e a c h evening to my Mecca. The b a r b a r i a n b e g s for m e r c y . I t a k e m y p l e a s u r e i n t h e b a r b e r e d b e a r d a s I find it. 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 g o o d w o r k s of c h a r i t y . 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 t h a b e a u t i f u l lice-cap o n its. h e a d . L o u i s e ' s son h a s switched his g u n to the other shoulder. 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 o b l i g a t i o n : h i s h e l m e t . O n e m i g h t a s well fraternise with one's sister. I write, I draw, I have s n a p d r a g o n s , I h a v e m y wife w i t h 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 i n t h e c o r n e r . T h e littlest I call S t . T h o m a s , little S a i n t T h o m a s , a n d t h e big girl I c a l L S p r i n g . It is v e r y s w e e t . E v e r y o n e c o n g r a t u l a t e s m e . I ' p u t t h e m t h r o u g h t h e i r first c o m m u n i o n a t . t h e

58 b a r w i t h a waffle. T h i s is m y blood, I e x p l a i n e d . T h e n w e ate salt cod u n d e r t h e tassels on 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 s c h o o 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 d i v o r c e d . My m o t h e r m a r r i e d t h e S h a h of P e r s i a , t h e y o p e n e d a little 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 gets to t h e castle early, m y mother sparkles. I h a v e a s o n g w i t h m e t h a t y o u n g girls love t o s i n g , I l e n d it t o t h e m . In e x c h a n g e t h e y give i n t o m y s a f e k e e p i n g t h e i r first prize book, w h i c h w a s p r e s e n t e d t o t h e m w i t h a w r e a t h of d r i e d flowers. I r e f u s e t o s i g n t h e k i s s e s t h e y give m e . I s i g n 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 b e d , w e b e a t o u t a d u e t w i t h a d i t t y b y Lully, w h i c h , a s I s a i d , I h a v e n e v e r r e a d i n a b e d , P a i v a d o e s h e r h a i r w i t h a n air, ( r o m a n c e ) , t o t h e t u n e of t h e W i d o w a t t h e W i n d o w . 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 s m i l e s t h a t s h i n e a r o u n d me. I do not stop at useless precautions. I carry the b u r d e n a s s i g n e d t o m e for it is h o t , b u t m y o n l y 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 i n h e r a r m p i t . P o t t e r s go t h e r e in t h e e v e n i n g t o c a t c h its fleeting colour. O n e d a y I a s k e d myself: W h a t is t h i s k e y d o i n g i n m y p o c k e t ? S o I w e n t off t o Le M a n s t o s e e C l e m e n c e a u . I a s k e d h i m : "Do y o u k n o w w h a t t h i s k e y is d o i n g i n m y p o c k e t ? " He p o k e d m e in t h e e y e a n d I h a d t o s t a y i n t h e C h a m b e r of D e p u t i e s for t w e n t y - f o u 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

59 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 . F e a r i n g t h e P r e s i d e n t m i g h t c l o u d over a s a r e s u l t of t h i s i n c i d e n t , I h a d six t e e t h d o n e i n gold, and" took t h e balloon home. In t h e balloon, 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 b a l l o o n i s d o i n g in t h e s k y ? " H e 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 time. It w a s t h e siege of P a r i s . I sign t h e p e a c e t r e a t y a n d leave to t a k e t h e blotting p a p e r to t h e Invalides. On t h e e s p l a n a d e I m e e t M a r i e 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 " A r e n ' 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 like t h i s . a t y o u r a g e ? " S h e l e n d s m e h e r h o r s e a n d there we were at h e r r a n c h in t h e F a u b o u r g Saint-Germain. There we did experiments in s p o n t a n e o u s g e r m i n a t i o n . I got o n well with P a s t e u r b u t h i s s i s t e r did all s h e c o u l d t o m a k e life i m p o s s i b l e for m e . I s l e p t w i t h o n e eye o p e n . O n e n i g h t t h e m a i d n o t i c e d t h a t I w a s m o s t skilfully watching her undress. She screamed so loud that e v e r y o n e r a n u p a n d t h r e w t h e m s e l v e s a t m e to force m e t o leave.

I would not enlist a n y more now, a l t h o u g h w a t e r l e s s rivers c h o p p e d b y t h e r a i n , I will n o t p l e a s e a n y o n e a n y m o r e , it is n o l o n g e r I w h o a m e v e n Inside m y pigskin suitcase, I a m not hungry, I a m n o t s c a r e d : far too c o w a r d l y to b e s c a r e d , too g r e e d y to e a t . I a m t h e o n e w h o 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

60 s u r g e r y . I a m m o r e finished t h a n a n e p i s o d e . 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 r o u b l e . I a m t h i n a s a v i n e - s h o o t t h a t t a k e s u m b r a g e a t i t s s i n g l e leaf. I a m truly anyone, I d r a g myself a r o u n d on t h e c r u t c h e s of m y w i n d o w , I s h o u l d b e s l a u g h t e r e d w i t h whistle blows, s o m e o n e s h o u l d do m e t h e I m m e n s e favour of s l i p p i n g m y foot o n u n d e r t h e t a b l e . ATTEMPTED SIMULATION O F G E N E R A L PARALYSIS ^ W^ J y great adorable w o m a n beautiful as ^ ^ P B i everything on t h e e a r t h a n d in t h e ^ L T B ^ m o s t b e a u t i f u 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 by all ^ ^ ^ ^ ^ t h e p o w e r s of t h e s t a r s b e a u t i f u l w i t h t h e b e a u t y of t h e b i l l i o n s 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 t o m y k n e e s t o b e g 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 roll d i a m o n d s in t h e m o s s taller t h a n t h e forests w h e r e y o u r t a l l e s t h a i r t h i n k s of m e d o n o t forget m e m y little 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 l o o k a t y o u r s e l f i n m y h a n d w h i c h I u s e to s t a n d steady on everything in t h e w o r l d s o t h a t y o u will r e c o g n i s e m e for w h a t I a m m y blonde-brunette my beauty and my beast think of m e in p a r a d i s e w i t h 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 w e r e g o i n g -to m a k e love w e r e n o t e n o u g h for m e a 61

62 h u n d r e d t h o u s a n d m o r e will 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 f o r e s t s of y o u r e y e s 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 i n m y s t r o n g h o l d s a n d w e s h a l l g o w a l k i n g t o g e t h e r i n t h e f o r e s t s of A s i a 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 i n t h e a d m i r a b l e f o r e s t s of y o u r e y e s w h i c h are accustomed to my splendour. Y o u d o n o t h a v e t o w a i t for t h e s u r p r i s e t h a t I w a n t t o 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 d a y a s m i n e I a m giving it t o y o u a t o n c e 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 b e f o r e 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 t o p l a y h i d e - a n d - s e e k w i t h 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 w h i l e l a u g h i n g . Before I c o u l d sleep I c o u n t e d c l o u d u p o n cloud of c a r t s full of b e e t for t h e s u n a n d I w a n t to t a k e you at night 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 b u i l d i n g w i t h t w o h o r i z o n s for y o u r e y e s of p e t r o l e u m , t o m a k e w a r I will lead y o u t h e r e b y 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 with w h i c h I w i s h to cover y o u is 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 b u t t e r f l i e s . T h i n k of m e w h o t h i n k o n l y of y o u r b r i l l i a n c e 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 o p e n e d y o u r eyes o p e n t o all 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 all t h e b e i n g s w h o m y o u r e y e s 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

63 w h e n y o u r e y e s h a v e d u l l e d it w i t h t h e i r c o n t e m p t . I b l e e d i n m y h e a r t a t t h e m e r e i n i t i a l s of y o u r n a m e o n a flag w i t h t h e initials of y o u r n a m e w h i c h a r e all 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 civilisations w h e r e I will love y o u y e t s i n c e y o u w i s h to b e m y 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 l o n g e r a n a v e r a g e . 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 l o s e s 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 e e s of t h e a v e n u e of y o u r m o u t h d o w n w h i c h w e go i n t h e s p a r k l i n g d u s t t o 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 adore my great creature so beautiful 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 with y o u r p r e s e n c e with 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 m u l t i p l i e s t h e f a c e t s 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 i n all t h e l o o k i n g g l a s s e s of m y s p l e n d o u r m y o r i g i n a l w o m a n m y scaffolding of r o s e w o o d y o u a r e t h e f a u l t of m y fault of m y v e r y g r e a t f a u l 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 f o r t y - n i n e t i m e s h a v e I loved y o u w i t h p a s s i o n o n t h e w a y a n d I a m crucified i n t h e N o r t h i n t h e E a s t in t h e W e s t a n d i n t h e N o r t h for y o u r r a d i u m kiss a n d I w a n t y o u a n d you 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 to t h e surface 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 sitting a n d combing your hair. You will c o m e y o u t h i n k of m e y o u will c o m e y o u will r u n t o 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 w i t h t h e s w a y i n g of y o u r

64 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 t o c l a s p themselves a r o u n d m e kneeling between y o u r legs a n d y o u r a r m s t o c l a s p y o u w i t h o u t fear t h a t m y l o c o m o t i v e s will p r e v e n t y o u from c o m i n g t o m e a r i d I follow y o u a n d I a m a h e a d of y o u t o s t o p 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 i n a k i s s o n y o u r e y e s all t h e k i s s e s i n t h e world i n a s t a r o n y o u r m o u t h . Y o u r s , sweetly aflame. P . S . I s h o u l d like a p h o n e b o o k for m a s s a phone book with a knotted string to m a r k the pages. B r i n g m e a F r a n c o - G e r m a n flag, too, s o I c a n fly it in rio-man's-land. Arid a p o u n d of M e n i e r c h o c o l a t e w i t h t h e l i t t l e 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 little girls t o o w i t h t h e i r l a w y e r s arid t h e i r j u d g e s a n d c o m e o n - t h e s p e c i a l t r a i n w i t h t h e s p e e d of l i g h t a n d t h e Wild W e s t o u t l a w s w h o will k e e p 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 i k e a- c h a m p a g n e c o r k . 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 g o n e I w a s lifting u p t h e w o r l d like a f e a t h e r . 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 s e e y o u c o m e like t h e fairies. ^M I 11 h e n t h a t love w a s d o n e w i t h , I w a s left ^ B M % ^ f like a b i r d o n a b r a n c h . I w a s n o l o n g e r 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 reflected m y i m a g e a n d I noticed t h a t the Pont a u Change, which h a s t h e bird m a r k e t n e x t t o it, w a s b e c o m i n g m o r e a n d m o r e , curved. A n d t h a t i s h o w , o n e fine d a y , I c r o s s e d o v e r forever t o t h e o t h e r s i d e 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 d e s c e n t b i r d s . 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 r d , I s a y , d o I n e e d ' a n y m o r e to d e m e a n myself o n t h e ground, to p u t in a winged appearance on the ground. I r e f u s e t o s i n g a l o n g w i t h y o u t h e l u r i d ditty: "We die for t h e little b i r d s , give a feast t o y o u r little b i r d s . " 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 parrot. They coddle the wind which h a t c h e s o u t with s e e d s i n i t s e y e s . 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 r d s ' 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 t o 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 i n e x p l i c a b l e a s long a s o n e 65

ATTEMPTED SIMULATION O F INTERPRETATIVE DELIRIUM

66 r e m a i n s b e n e a t h the vault, t h e earth t h a t is w e b f o o t e d w i t h d e s e r t s is itself s u b j e c t t o t h e l a w s of migration. T h e feather s u m m e r is n o t over yet. T h e holds 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 cock on the steeple a d o r n s the gunfire s m o k e while t h e orange-breasted widow m a k e s h e r way to t h e cemetery whose crosses are the tiny 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 t o believe h i m s e l f u p o n t h e e a r t h like a b l a c k b i r d o n a buffalo's b a c k , u p o n t h e s e a like a g u l T o n t h e c r e s t of t h e waves; t h e b l a c k b i r d solid a n d t h e i s e a g u l l liquid. H o r u s , w i t h a finger to h i s lips, is t h e avalanche. I had not seen those birdcatchers who s e a r c h for m e n i n t h e s k y a n d d r i v e e a c h o t h e r from t h e i r n e s t s w i t h s t o n e s t h e y t h r o w i n t o 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 their wings which ceaselessly dip into 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 to see aglow o n s t o r m y d a y s a n d w h i c h hide their thunderbolt plumes among their.feathers w h e n t h e y fall a s l e e p o n t h e single foot of t h e air. * T h e mills of l i g h t n i n g h a v e b r o k e n t h e i r s h e l l s a n d . f l e e a s fast a s t h e i r w i n g s will c a r r y t h e m , s a n d e a t s d u n e s , t h e h o r i z o n i s t r y i n g t o k e e p o u t of t h e w a y of c l o u d s . Y o u will a g r e e t h a t y o u r drop-sided cots, a n d y o u r t w i s t e d 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 scarecrows in t h e latest fashion,

67 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 pigeon class compartments, and the l a m b s t h a t f o r m t h e p l i n t h s of y o u r s t a t u e s of p r e y , 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 a w a y , a n d the h o u r s , a n d the minutes, a n d the seconds in your woodpecker heads, and your glorious conquests, yes, y o u r glorious cuckoo-like conquests! All t h e s e s n a r e s of g r a c e w e r e o n l y e v e r t h e r e t o g e 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 c o u r a g e . D o n o t c o u n t a n y m o r e o n m e t o 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 d e c k e d o u t like b i r d s of p a r a d i s e . In t h e beginning w a s song. Everyone to the w i n d o w s ! F r o m o n e side t o t h e o t h e r y o u s e e n o t h i n g n o w b u t L e d a . 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 through which s h e enters the swan's neck, on the 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 r d of night.

ATTEMPTED SIMULATION O F DEMENTIA P R A E C O X % . _ f - h e woman here with a n a r m on her ft W0^k head pebbled with pralines which ^Hl^lft leave h e r e w i t h o u t a n y o n e having a ^Vfi|^V c l e a r i d e a b e c a u s e it i s a b i t m o r e ^^ t h a n n o o n here while leaving t h e l a u g h through the teeth which retreats across the palate 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 G o d h a s a r r i v e d m u s i c f o r w a r d of t h e little girls w e e p i n g s e e d s w h o m one w a t c h e s without seeing t h e m weep by the h a n d of t h e G r a c e s o n t h e . f o u r t h 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 holiday. While b o u l a n g i n g with 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 i c y c l e a n d r e d t o p e r c e i v e . T h e t u b is l i s t e d i n t h e s k y b y t h e Virgin immobile in h e r barrel. God m a k e s m e t o n g u e s w i t h 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 t h 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 69

70 t h e r e is a little a w k w a r d n e s s in t h e m i l k of o v a t i o n a n d e v o c a t i o n . It I s t h e r e w i t h i t s u d d e r - l i k e e y e s , I p a s s it i n t o s h o o t i n g t a r g e t s . I h a v e s a i d t h r e e w o r d s t o o 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 several times deserved death, especially in G r e e c e , 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 a d y f r i e n d s right u p t o 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 e a t e s t c r i m i n a l in C h a l d e a . F o r all t h a t I did n o t h a v e t o m a k e u s e of m y d a u g h t e r n a t i v e t o t h e lower p a r t s of h e r f a t h e r ' 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 m o t h e r - o f - p e a 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 t e r n i t y . P a l e 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 l o u d s , y o u r e t r e a t before t h e forty w a y s of u s i n g m y cruelty. W h e n I w a s y o u n g I h i d H e r c u 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 e e d o m b y fixing h i s r a n s o m t o m y t o m b s t o n e In ricochets. H e l a u g h e d b e h i n d m y gag, a l a u g h 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 ' e g g s 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 at star-shaped crossroads in the bicorn 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 r e a t g r a n d - d a u g h t e r Cleo d e Merode, m y g r e a t g r a n d m o t h e r w h o t r a v e l s pillion o n w o l f - b a c k 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 million t i m e s a t r o u l e t t e b y p l a y i n g 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 expelled in t r i u m p h from all t h e f e n c i n g h a l l s b e c a u s e I w a n t e d t o t a k e t h e h o n e y . It

71 w a s t h a t very day t h a t I u n d e r s t o o d the seven m y s t e r i e s of c r e a t i o n . Cleo d e M e r o d e s p e n t h e r t i m e t r y i n g t o w e d g e t h e t a b l e leg w i t h t h e b e s t p a r t of m y w i n n i n g s . I p u t Cleo d e M e r o d e b e t w e e n t h e c l a w s of m y ring. S h e is quiet, s h e w a k e s t h e d e a d , I a m s t e r i l i s i n g all t h e facts. ITie e m b r y o c o n t i n u e s t o look like 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 debtor's prison. You have to s h o w y o u r identity to g e t i n 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 g a l a d a y s . T h e r e i g n of t h e u s e l e s s is over. T h e y w a n t e d t o give m e a false b e a r d a n d m a k e m e p l a y t h e s e p u l c h r a l role of valet to t h e Pope. They t h r e a t e n e d to get m e on 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 e d m y t e e t h a n d told t h e m forty-eight if y o u d o n o t let go of m y h a n d I will n o l o n g e r go i n t o t h e g r i n d e r b o x t o 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 g o t m y s e l f e n r o l l e d a s I w a l k e d p a s t t h e front. T h e y p u t m e in t h e w a g o n with t h e lions b u t a s s o o n a s t h e y r e c o g n i s e d m e t h e y w e r e left w i t h n o t h i n g b u t a d a i s y m a n e . I clipped a t h o u s a n d l i o n s a s w e w e n t i n 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 w h i c h t i e d itself i n k n o t s . I h a d arrived. 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 chimneys on Christmas 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 w h o c o n s u l t m e a b o u t c r i m e s of p a s s i o n . It is d a m p e n b e l l s w i t h t h e pigtails of g o o d solid all t h e people right to French

72 girls w h o h a v e n o t h i n g left b u t t h e i r w a r d r o b e w i t h a m i r r o r o n t h e b a c k . I l o o k a t m y s e l f i n it, c o d d l e myself in it a n d w h a t d o w e r a i s e ? = a h i n 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 l d g e n t l e m a n . Q u a r r i e s of l e a d - g r e y s h e - w o l v e s . I h a v e s e e n it all. You h a v e to l a u g h with t h e wolves. I believe in philately. I h a v e t h e a r m s of Poitiers t a t t o o e d o n t h e left s i d e of m y a r m w h i c h h a s a slipo n cover, a n d t h e w o r d s s e peut artificially p r o l o n g e a c h lash of m y u p p e r eyelid, w h i l e o n 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 i n m a c a b r e p i n k . Philately 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 r y e r a . P t e r o d a c t y l s a r e l e a p i n g r i g h t n o w from o n e lip of m y i n k w e l l to t h e o t h e r . W e d d i n g 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 i e s t s h o u l d w e a r a tiddler o n h i s c h a s u b l e . R u b b e r s b l o w n u p w i t h t h e p e r f o r a t i o n s of s t a m p s for b a l l o o n m a i l still b e s i e g e o u r g o o d t o w n . M i s s i o n a r i e s n e e d f r e s h v e g e t a b l e s 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 only t h e savages are suspected. A parricide in Africa hollowed o u t h i s eye in t h e form of a shell. T h e p i e c e s for t h e g a m e of c a r n a g e a r e t e n t h o u s a n d agile fingers. 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 with a Chinese musician in the nail. I a m h a n g i n g from a l o o p of c h e r r i e s . I l a u n c h e d all t h e f a s h i o n s of bygone days: the skirt with spurs, the water-train, t h e g l o b e w i t h a c r o s s in t h e h a n d s of t h u m b s u c k i n g i n f a n 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 y e t t o serve. S l e e p e r s d o n o t s m e l l t h e s a m e a s p e o p l e a w a k e : if y o u w a k e t h e m u p w i t h a s t a r t a

73 s m e l 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 i n L i b r a . 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 t w o 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 r y i n g o u t for a feed from m o t h e r ' s b e a k . If it is o n t h e lip, it m a k e s k i s s ; if it is o n t h e b u m , it m a k e s Tibet, I a m t h e grandfather, t h e father, t h e father-inlaw, t h e b r o t h e r , t h e b r o t h e r - i n - l a w , t h e u n c l e s t h e son-in-law, the daughter-in-law, the cousin, the g o d f a t h e 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 m e r e l y a s p y in d i s g u i s e , a false friend i n t h e s e r v i c e of t h e a r c h d u k e s of T h u l e . H e c a n o n l y b e u n m a s k e d b y showing to t h e crowd t h e P a r t h i a n arrow sticking in his shoulder. T h u s are rabbles w e l d e d t o g e t h e r , , t h e a d u l t e r o u s fruits of v a l e t r y a n d t h e m a t t r e s s . I fear o n l y b y e a r t h e t i m e s w i t c h i n t h e ' D e p a r t m e n t stores I built by piling 3 3 , 0 0 0 s h e l v e s of s w e e t s o n t h e p e a c e t r e a t i e s . A n o t h e r p a 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 l e e v e s for o t h e r a r m s o n a n o t h e r p a i r of n o o d l e s . W e will c e r t a i n l y s e e w i t h regard to t h e noodle in t h e t u n n e l u n d e r t h e Channel whether armless penguins and one-armed 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' P u d d i n g . Y o u h a v e t o t a k e t h e lift t o g e t from h i s feet t o h i s h e a d via imagination b u t w h e n I see the republics coming to call every week, I seal m y blood p r e c i o u s l y after b o t t l i n g it. T h e y o u n g m a n is n o t y e t so k n o w l e d g e a b l e a b o u t h i s fate w i t h t h e c h a i r s o n

74 w h i c h h e limits himself to sitting kilometrically o p p o s i t e h i m s e l f w i t h o u t m a r k i n g time. 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 girls w h o a r e g o i n g u p t o g e t a b e t t e r v i e w t o 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 w h i l e I go d o w n t h e N i a g a r a falls a s a fishing float, rolled i n a ball, in a little b o a t , in a ball of s o u n d from t h e m e n c o n d e m n e d t o d e a t h t h a t y o u n g g i r l s p r e f e r , w h o free g i r l s f r o m t h e snares t h a t are their breasts. I will give n o t h i n g t o t h e wild b e a s t s , I s h a l l s t a b t h e m t o d e a t h w i t h m y d a g g e r . I a m i n h a b i t e d from bottom to top by a pack, the stag comes down, a n d t a k e s m e on his back, so like a sleeping w o m a n . W h a t a r e y o u a b o u t to c l i m b ? T h e S e i n e u n w i n d s , I h o l d t h e s p o o l , I s p i n it 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 have 2 1 , 0 0 0 erupting volcanoes. I a m spilling fire o n every s i d e . B u t I d o n o t t r u s t t h e 5 0 0 billion flames w h i c h I a m t r a i n i n g 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 arid c o n s c i e n c e w h i c h s w e a r s b e f o r e t h e c o u r t t o tell t h e w h o l e t r u t h while insisting on t h e mitigating 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 n k 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 c o m p l e t i o n of t h e t e r m a n d d e c l a r e d i n d e f a u l 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 superiors w h o are splitting their sides on each side 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 r h o s 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 r e e d o m

75 t o God w h o b o r e a g o l d e n y o k e w h i c h h e r e t u r n e d to m e t o b e free a n d t o l e a d m e b y t h e h a n d i n t o t h e m e a d o w s of t h e g o l d e n 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 r o w ' s n e c k s u r a m s of I r d i a I s p e n d t h e e v e n i n g s 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 have noticed t h a t decease i s b e n t o n b e t r a y i n g w i t h a b u r s t of l a u g h t e r a n d s u b j e c t i n g n i g h t t o 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 d e l a y ; r e t a r d e d e r a s u r e of r a b b l e . Raeson t h a h no urle. I have eaten at Faust's table in bow's c u t s a n d t h e g u e s t s were enjoined to dip their eyes in b l u e so t h e devilblue this p a s s i n g b l u e who w a s g u e s t of h o n o u r w i t h 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 i n h i s lace. A n d w e w e r e s t a i n e d t o t h e very m a r r o w . W a s p - d r i l l s frizz 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 in t h e soggy m a n g e r a n d the b o w e r c o m e t a k e o n r e d - c a d e t ' s t e e t h . F o 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 t o r a i s e w i t h cover for m y p e o p l e a n d m u s h r o o m u n d e r s t a n d i n g crinkles the herb while t e a r i n g off i t s h e a d a s r e q u i r e d . A n d m o u n t e d o n a wall-clearing w h i c h Elbes its w a y His C o u n t r y G r a t e f u l l y , E l b e all 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 t o p t o t o e to b e t h e b e e c h , t h e f o r e n a m e , the countername, the intername and the 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 shoot a n d the bong gadrins and disappears into 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. Q u i e t l y t h e b i r d ' s c h e r r y b r i g h t a n d p i n t c l o u d over w i t h p i m p l i c o a n d

76 N e a s d e n slick o n t h e f u n n y - b o n e long t h i n funny b o n e e a t t h e h o a r - f r o s t of H i n d i e s a n d N i o b o b s from S u d a . T h e p h y l d r a i s o b s e r b e d via t h e . e r a c m o u s o b e . Y o u f o o t s t e p o n p i n s w h i l e A l a d d i n COOTCOO-COO. S t P e t e r s o logic w i t h p i p e ; 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' a b o d e . T h e x e x a l t a s p e r a t e s soda-fire. Batavoir a n d rouletter mumbling rat-tail decorate super-tooter the Jingoryjambo-reegermany. I h o w however howitzer for y o u s i r . Y e s , 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 s y s t e 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 frieze u p w i t h o u t d e l a y . A n a f a n a l y 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 t w e l v e four, t i m e s e i g h t d e a l . B y 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 s k i n two leave m i n e of e p i g r a p h s . I n i c k e l e v e n 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 hall y o u could c l i m a t i a t e w i t h o u 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 vocab w h i c h p u r d l e s b e F o r e t h e F r o n g a r s o n Adjectives like O n e t w o b u t one adword in t o n g u e b u t not in furnitre, I g a s p y o u myself w h o S l e e p a p o s t r o p h e Maimberlain. And who impelioses m a r k e t s in t h e woOds, We each began by riossosrong ferrisrong = S o n of J u d a s r e n e v e d , w h o Rev.

77 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 tewarfogjug fulecragdis beltog. Oradar-yugbixigs i n g b r o m m e ee n o d e d h a mogsuere n e a c lewhitL

L i n n a e u s h i p p o m y t h E e i n g b r i l l r e t h e r k r i n d folia klimbixigs rodikits mofroe debla... Ee w o n a d tewarruep me yugbixigs terweani seraip, Ee t e l t o u d h a allowow c h y u g x i g s , t e w a r g a x i g s s p l a t . E e

T H E

MEDIATIONS

FORCE OF HABIT h e table i s laid i n t h e d i n i n g room; t h e taps are running with clear water, tender water, 'temperate > water, p e r f u m e d water. T h e b e d i s a s big for t w q ; a s it i s for one. After.the bud 1 will c o m e t h e leaf, a n d after t h e leaf t h e flower a n d after t h e rain fine" w e a t h e r . B e c a u s e i t i s time, t h e e y e s o p e n , t h e b o d y s t a n d s straight, t h e h a n d r e a c h e s out, t h e fire is lit, t h e smile fights t h e wrinkles of t h e n i g h t for their g u i l e l e s s curves. A n d it i s t h e clock's h a n d s w h i c h open, stand up, reach out, light.up a n d p o i n t t o the;.time for s m i l e s . 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 d r o p s of b l o o d are g o i n g t o fall a g a i n around five o'clock, b u t it will not matter. Oh! I h a d a fright, I s u d d e n l y t h o u g h t t h e r e w a s n o longer a s t r e e t o u t s i d e t h e window, b u t y e s , it i s still there. The shopkeeper is even b u s y pulling u p his metal shutters. There will s o o n b e m o r e people p u s h i n g t h e w h e e l t h a n i n t h e mflL Work is c u t to s h a p e , forged, planed, calculated. The h a n d recognises with 81

82 pleasure i n a familiar tool t h e security of sleep. If only it lasts! T h e mirror i s a marvellous w i t n e s s , c e a s e l e s s l y varying. It testifies calmly, a n d forcefully, b u t w h e n it h a s finished s p e a k i n g y o u r e a l i s e it h a s t a k e n b a c k e v e r y t h i n g it s a i d . It i s a r u n n i n g p e r s o n ification of truth. On the ricochet p a t h obstinately attached to t h e l e g s of t h e m a n w h o i s going b a c k today, a s h e will b e going b a c k tomorrow, o n t h e slender d e p o s i t s of i n s o u c i a n c e , a t h o u s a n d s t e p s e a c h d a y m a n y w i t h t h e s t e p s of t h e d a y before. We h a v e already b e e n there, w e will c o m e b a c k w i t h o u t b e i n g a s k e d . W e h a v e all b e e n p a s t there o n o u r w a y from Joy to sorrow. It is a small cabin w i t h a h u g e g a s lamp..You p u t o n e foot in front of t h e other a n d your are off. T h e w a l l s are b e i n g c o v e r e d w i t h p a i n t i n g s , feast d a y s are b e i n g sifted w i t h b o u q u e t s , the.mirror is s t e a m i n g u p . That m a n y l i g h t h o u s e s o n a s t r e a m a n d t h e s t r e a m is i n t h e s l i m e of t h e riverbed. T w o e y e s t h e s a m e , for t h e u s e of y o u r face a l o n e -T? t w o eyes = crawling w i t h t h e s a m e a n t s . Green is s p r e a d a l m o s t evenly over t h e plants, t h e wind follows t h e birds, there i s n o danger w e will s e e t h e s t o n e s die. W h a t i s o n s h o w I s n o t a trained animal, b u t a n a n i m a l trainer. Pah! It Is t h e imprescriptible order of a c e r e m o n y already s o i m p o s i n g , indeed! It i s t h e repeater pistol w h i c t r m a k e s flowers appear i n v a s e s , with a smoking mouth. Love, i n t h e long run, c a n happily d o w i t h o u t s e e i n g t h i s clearly a t night.

83 W h e n y o u are n o longer there, there i s y o u r perfume t h a t s e e k s m e out. All I c a n get given b a c k to m e i s t h e oracle of y o u r w e a k n e s s . My h a n d i n y o u r s looked s o u n l i k e y o u r h a n d i n mine. Misfortune, y o u follow, e v e n misfortune improves w i t h acquaintance. I w a s given y o u a s my share, y o u cannot not be t h e r e , y o u are t h e proof t h a t I a m t h e r e . A n d everything conforms t o t h i s life I h a v e m a d e myself to m a k e s u r e 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 o f t i m e p a s s i n g ^ ^ ^ H H / h a v i n g seized h i m b y .the throat, m a n ^ & \ *M gives up overturning the absurd J | H ^ P c o n s t r u c t i o n s of h i s i n g e n u i t y , a n d s i t s d o w n a t t h e d e s k of a t t e n t i o n , a freezing little breeze forces h i m to b u t t o n h i s j a c k e t a n d bury h i s h a n d s i n h i s p o c k e t s . . H e tries to m a k e u p for h i s woeful a p p e a r a n c e w i t h a . s m i l e h e w o u l d love t o m a k e look insolent; t h e c r u t c h e s of c o u r a g e are b r o k e n , n o t h i n g w o r k s a n y m o r e , everything t a k e s care of itself. S o h e o p e n s a n e w s p a p e r b u t try a s h e m a y t u r n i n g it u p s i d e d o w n a n d i n s i d e out, y o u h a v e to admit t h a t yesterday proved a s c a l m , a s could b e . Apart from a rain of g r a s s h o p p e r s over t h e Atlas, t h e r e w a s n o t m u c h to d i s r u p t t h i n g s : T h e w e a t h e r forecast i s silent a b o u t a n y c h a n g e s i n t h e w e a t h e r of a n e w kind s u c h a s o r g a n w i n d p a s s i n g abruptly Into c o c o o n s or b l u e w o m e n s p u r t i n g from certain large clouds. Y o u c a n n o t look b a c k over y o u r life w i t h o u t r e a l i s i n g t h a t y o u h a v e n e v e r e n c o u n t e r e d those. 85

86 g r e a t b i g g h o s t s w i t h c a r b u n c l e e y e s t h a t go b y i n b o o k s , n o r s h i v e r e d a t finding o n e e v e n i n g 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 you were not expecting. 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 . Butterflies, m o s t fortunately, have not t h r u s t themselves u p o n u s in a m a s s compact 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 quietly in a n o n c h a l a n t p o s e o n a cafe terrace, y o u have to admit that, o n the other h a n d , b y looking u n d e r y o u r furniture every evening, y o u c a n h a r d l y claim to have, succeeded 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 have b e e n able to see a s y o u wrote y o u r own h e a d t h r o u g h t h e penholder, to h e a r t h e s o u n d of t h e r a i l w a y b y s h a k i n g p o p p i e 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 have n o t yet succeeded in holding in your h a n d s a d a g g e r m a d e of w a t e r , e v e n only t o 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 w a t e r . You have not seen yourself in mirrors with a face o t h e r t h a n .your own, either t r a n s p a r e n t o r shining. You h a v e b e e n t h r o u g h everything: t h e s k y a n d i t s s h e e p , every f o r m of s t o r m a n d w i n d , 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 r d s , t h e b u r n i n g c o a 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 l o o d v e s s e l s , w i t h t h e e n s i g n flying a t y o u r t e m p l e s , t h e a b l e - b o d i e d l i g h t , t h e c h e c k e r b o a r d of y o u r g a m e , t h e oblivion of d r e a m s a n d t h e c a l e n d a r . Not a s e c o n d of r e s p i t e , o n l y a s e c o n d a t i n y Jbit l o n g e r t h a n t h e o t h e r s , n o t a w i n t e r April fool. L e n g t h s , ;

87 yes, let;us say t h e word a s we would not b e a s h a m e d t o a t t h e r a c e s , longueurs i n p r e s e n c e , i n a b s e n c e , i n waiting. How s h o u l d we r e s p o n d to t h o s e w h o do n o t a s k u s t h e impossible, to people w h o m nothing a s t o n i s h e s ? With lowered eyes we carry t h e b u r d e n of s i l e n c e ' forever a n d a l w a y s . W e will n o t let go of it u n t i l w e h e a r it begging u s to d o so. O u r h a n d s a r e r o c k e t s t h a t d o n o t fire, e v e n o n t h e f i n e s t d a y s . E v e r y o n e h a s arrived-' t o o e a r l y , 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 t y r e s , it h a s s t o p p e d r a i n i n g . 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 kill t h e m s e l v e s t h e first t i m e t h e y s e e e a c h o t h e r . H o w t o g e t t h e m t o r e m e m b e r t h a t w o n d e r f u l b o o k cover, t h a t c o v e r frozen i n c o l o u r s : h e w i t h h i s h a n d o v e r 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 t e r r i b l e t r a c k s , o n e t u r n of t h e w h e e l s a w a y from t h e e x p r e s s {The Sublime Sin)? H o w t o s h o w t h e m o n t h e w a l l b e h i n d t h e i r b e d t h a t b i r d circling w h o s e w i n g s a r e m a d e of two scythe blades a n d whose h e a d is a butterfly p i n n e d a n d slowly dying. All i s p r e d i c t e d , all is foreseen, all is s e t i n s t o n e . A f o r t r e s s of s o u n d s d e f e n d s t h e n i g h t i n g a l e ' s s o n g , t h e i l l u s i o n s perfectly fit t h e m a g i c 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 b o d i e s , e v e n i n g a n n o u n c e s the dawn. But one perpetual night the n i g h t i n g a l e c a n s t a y silent, for t h e f o r t r e s s h a s b e e n taken. T h e r e t o r t n o w e m p t y of m a n , though i m p e r c e p t i b l y t r a c e d w i t h gold, still r e s i s t s t h e

88 e l e m e n t s a t t h e . level of t h e t h i r t i e t h 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 y e 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 t w o 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 q u i t e 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 l o u g h e d , it 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 l o s e t h e d o o r s of h u n g e r , fine w e a t h e r c l o s e s t h e p r i s o n s . It i s a l w a y s , it is n e v e r . P o s s i b l e b e i n g s question probable beings, already without fathers or m o t h e r s . T h e y w a i t t h e 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. M a n , i n t h e m i d d l e , is n o w n o m o r e t h a n t h e c a n d l e .

T H E R E I S NOTHING INCOMPREHENSIBLE hat attraction, then, h a s brought 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 three thousand feet b e l o w the 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 a c e fis cool; b u t s p a r s e r a t h e r t h a n o v e r g r o w n . No anxiety, a b o u t t h e f u t u r e , n o h i d d e n light h a s d r a w n to this place people who search throughout the c o u n t r y s i d e for g r e a t living 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 c o r a l a n d ithe c h a n t s of b u b b l e s w i t h i t s l i g h t n i n g 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 s o f 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 led,some famous virtuosos to this clearing. T r o p p m a n n , La Brinvilliers, V a c h e r , Soleilland, 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 i n g i n g t o g e t h e r s u c h g r e a 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 having consulted 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, t o ^ p r e p a r e i n 89

90 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 splendid executors a r e a s yet u n b o r n . L a Brinvilliers, i n t h e n i g h t - t i m e c a l m , r e v i v e s h e r lost poisons with t h a t studied grace t h a t allows her to arrive at a truthful and accurate 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 e v o k e s t h e b e a u t y of p r o s t i t u t e s I n love, H a a r m a n n e a t s , Soleilland gambles, T r o p p m a n n laughs, a whole n o m a n ' s l a n d before h i s eyes. A t t h e t u r n i n g p o i n t of s e v e r a l p a t h s , g r a z i n g 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 m i n g l e i n 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 their power b e e n wielded with greater freedom. The attraction that h a s d r a w n these criminals h e r e is surely n o t h i n g other 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 language to regain to s o m e extent its 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 it i s a b s o l u t e l y itself, w i t h 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 time we s a w Soleilland enter t h e sea. Silence h a d g r a d u a l l y s e t t l e d i n t h e r o o m w h e n t h i s tall y o u n g m a n c a m e u p t o t h e b e d a n d s a t d o w n . He l o o k e d 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 ; it w a s a s if h e h a d w a n t e d t o 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 d e x t e r i t y , s i l e n t l y at f first, t o 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 i n h i s m u s i n g . W e c o u l d feel t h a t h e w a s a l o n e , a n d t r u l y a t t h a t r r i b m e n t w e all existed 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

91 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 l o v e s cannot anyway exist without authority, e x a c t i n g n e s s : 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 t o d i s t r a c t d e m o n s . ' When- t h e public buzzing h a d subsided, w h e n h e w a s Oil a level w i t h t h e sea, w h e n h e h a d c e a s e d t o b e t h e s t r o n g e s t , only t h e n did S o l e i l l a n d u n v e i l t h e child's eyes. Born in surprise they suddenly a f f i r m e d life i n a v i o l e n t a n d magnificent 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: i n t h e m t h e w o r k f o u n d i t s r e a l g r a n d e u r , real t r u t h . It Is l o n g : 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 i v i n a t i o n g r e w 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 a g e s . - (All t h i s t o o k place, a s I h a v e s a i d , b e n e a t h t h e sea.._We w e r e o n l y o n . a raft w i t h o u r c o n t e m p o r a 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 S o l e i l l a n d . W e r e a l i s e d t h a t h e was. doing things even b e y o n d intelligence, 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 p e o p l e believe in s o m e t h i n g other than normal human possibilities. W h e n w e t o l d S o l e i l l a n d 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 i n a b o y i s h voice: "Why a r e y o u telling m e t h i s ? " " B e c a u s e t h a t is w h a t w e t h i n k . " "I h a v e n o t r o u b l e believing you." H e smiled, delighted t h a t ' h e c o u l d b e t a k e n for o n e of t h e g r e a t e s t s p i r i t u a l a d v i s e r s alive.

92 " B u t w h a t h a v e I d o n e ? " h e a d d e d . H e plied u s w i t h q u e s t i o n s i n o r d e r t o h e a r u s a c c o u n t for o u r o p i n i o n ; a n d s o o n , w h e n it w a s o u r t u r n t o q u e s t i o n h i m , h e t o l d u s of h i s c h i l d h o o d i n t h e s u n , b e t w e e n h i s f a t h e r ' s p r i n c i p 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 who, while h e w a s quite young, h a d initiated him into the great arcana a n d h a d never doubted t h a t h e w a s destined one day to become 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 i n d i f f e r e n c e a n d m a s t e r of h i s d e s i r e s , w h e n a g r e a t a g i t a t i o n s h o o k h i s h a n d s . H e t o o k d o w n from the wall the engraving t h a t h u n g there, which s h o w e d a r h a n h i t t i n g a w o m a n w i t h a cello a s h a r d a s h e c o u l d , e n t i t l e d : "A r e s i l i e n t cello." 1 T h e r e w a s nothing to be done, h e h a d to a d m i t t h a t h i s studies 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 were listening 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 m a g n i f i c e n t d e s t i n y t h i n k s o n l y of h i m s e l f : h e i n h a b i t s a w o r l d w i t h o u t v i c t i m s 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 b e l o w if y o u s p e a k w i t h h i m a b o u t it.

A FEELING F O R NATURE

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^ ^ M l he ball mirror process h a s more t h a n ^ I B V once proved useful in studying the ^ H i U ? s o u r c e s of d e w ; w h e n c o m p l e t e d w i t h '^HL^F a n o p e n fire, t h e . p h e n o m e n o n c a n . quite easily b e p u t t h r o u g h precise m e a s u r e m e n t s , a n d s t u d i e d i n full detail; 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 brief m o m e n t , t h e n g r a d u a l l y fade a w a y . T h e i r t o t a l d u r a t i o n v a r i e s w i t h 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 favourable to snow. But n o n e lasts longer t h a n a n a v e r a g e l i f e - s p a n , t a k i n g i n t o a c c o u n t .its e c l i p s e s a n d its knots. T h e g r e a t t h i n g w o u l d b e if w h e n o n e b e i n g h a s d e c e i v e d 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 i c k i n g u p a g l a s s w i t h o u t it b r e a k i n g i m m e d i a t e l y . M a n y inventors have devoted ;both their sleeping a n d their w a k i n g h o u r s t o s o l v i n g 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 s e 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 f a c t .is t h a t if it is t h e 1 e l e g a n c e of t h e g l a s s a l o n e t h a t , a l l o w s u s t o d r i n k a n d if it 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 o r 93

94 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 vibrations to the tempest always presumed to be w i t h i n t h e e r n p t y g l a s s , t h e n t h e e m o t i o n of e i t h e r o n e o r t h e o t h e r c a n n o t b e sufficient, in t h e m a j o r i t y 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 e c e 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 crucible at one's fingertips. T h e s e large hailstones t h a t have ripened i n fickleness and" n e g l e c t d o riot a l l o w 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 l o v e r s of jealousy. 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 s m e l l of old r o s e s a d o r n s t h e c e l l a r s 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 lizard. It is i n t h e d a w n r i g h t .up to t h e h e a r t . T h e r e 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 flaking a w a y , s u c h a m o v e m e n t of terrible, g r e a t s t a r s t h a t life i s i n s h r e d s . A n d t h e , e c h o a n s w e r s : Here, t h e r e is a c o r p s e . Little b y little t h e c o r p s e p u t s o n i t s m a k e - u p . Rice p o w d e r yields its place to white lead, t h e s u b l i m a t e a p p e a r s o n t h e b a l c o n y , it is" t h e k i n g of c o s m e t i c s . Z i n c 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 beloved t h a t beautiful' greenish-white luminosity in the night, t h a t altogether enigmatic sparkle in t h e h a l f - l i g h 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, while taming within its crystals the window-neck podurelle 2 , b o m in blood. W h e n y o u l o o k c l o s e l y a t y o u r o w n life y o u often g e 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 e n g t h of time. W e w e r e 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

95 p h e n o m e n o n between the Rue Louis-Blanc to the Rue.Louis-Noir: in o u r opinion 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 e e n f o r e s h o r t e n e d . T h e e n e m y b y n a t u r e h a u n t s perilous forests w h o s e g a t e s c l o s e 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 is lost a m i d t h e salted flowers a n d p l a s t e r fans. M u s t I s h o w him t h e way to t h e desert? Shall 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 this paving stone here should become and constantly r e m a i n parallel to t h e infernal equator? I s h e : 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 after 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 e a l l y p r e f e r t o h a v e all t h i s i n 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 d a z e d s k y ? All of it, h e a n s w e r s . W i t h t h a t a n d a s u n - l i k e s m i l e , w i t h o u t p u t t i n g m y n o s e t o m y w i n d o w , I will find out just what to e x p e c t from the 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 will find, o u t j u s t w h a t t o e x p e c t from t h e process u s e d to d r e s s u p desert objects t h a t pree x i s t t h e old w o r l d w i t h c h a r a c t e r s , b i r d s , o r v a r i o u s relatively well-made, t h r e e - d i m e n s i o n a l decors. F a c e d w i t h t h e m o d e s t p r i c e of t h e w h o l e t h i n g life - ^ . a n d t h e t o l e r a b l e e x e c u t i o n of t h e d e c o r , J t h o u g h t t h a t probably a simple, m e c h a n i c a l process h a d b e e n u s e d , s u c h a s moulding, b u t after e x a m i n i n g t h e m I realised t h a t t h e s e decorations, especially t h e

96 birds, were not casts, a n d so could not have come from a n o r d i n a r y m o u l d , b u t m u s t h a v e r e q u i r e d a h e x p e n s i v e m o u l d i n g p r o c e s s . 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 to visit the 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 t o o l s , a r e a p p l e l e a v e s a n d p l a s t i c ; a n d it i s w i t h t h o s e a p p l e l e a v e s 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 formed from d a p p l e d s k i e s (very 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 with strawberry r u n n e r s . He m u s t have t a k e n t h e m u s k from t r o u t h e a d s 2 , m i x e d it t o g e t h e r w i t h a n o x a l o r s a c c h a r i n e acid a n d enclosed it first.in.a fleshc o l o u r e d t a b l e t . In a s e c o n d , s p i r i t - c o l o u r e d t a b l e t h e m u s t h a v e e n c l o s e d . d r y b i c a r b o n a t e of s o d a . D u r i n g t h e rainy s e a s o n t h e two tablets mixed to p r o d u c e carbolic acid, e x h a l a b l e in t h e form of b r e a t h . T h e w i c k e d n e s s t h a t h u r l s s p i r i t , o n t o flesh a n d flesh o n t o t h e i m a g e s of t h e s p 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 chilled w a t e r of d u m b kitchens. One h a s to b r e a t h e this savage air which b a r e s i t s fists 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 wasp-waisted, viper-headed ruins. These pile-up in l a y e r s a n d e a c h level is c o v e r e d w i t h b l o o d c l o t s of living foam t h a t t h e fog t h e n c o v e r s w i t h d e a d foam 1 . 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 yellow 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 . T h e ! view s t r e t c h e s o u t l i m i t l e s s l y 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 heart, which have always made- a n extraordinary impression on t h o s e w h o have looked upon them. W e w o u l d h a v e liked to i l l u s t r a t e t h i s t e x t w i t h a

97 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 forked from halfway d o w n its 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 o v e r t h e p l a c e . T h i s k i n d of a b n o r m a l division of u s u a l l y s i m p l e 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 p a r t i t i o n , h a s n o t a s y e t b e e n s t u d i e d e x c e p t b y s e x u a l i s t s . It w a s i n P a r i s , w h e r e w e w e r e o u t b o t a n i s i n g a l o n g t h e fortifications t h a t w e w e r e s u r p r i s e d t o s e e for t h e first t i m e o n e , a n d t h e n t w o , a n d t h e n a t h o u s a n d of t h e s e excrescences reminiscent, b u t with a m u c h more 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 v a r i e t y of m a n d r a k e , s e e k i n g t h e w i n d i n t h e closecropped grass w h i c h t h e rocking h o r s e s eye so p i t e o u s l y . T h e i r e x c i t a b i l i t y g a v e u s a fairly g o o d 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 t o t h a t of a b e d a s it 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 p e r f o r m e d b y t h e v a r i o u s l i m b s a s s e m b l e d o n it w e r e 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 spin a r o u n d their delicate tips, m o u t h s b u r s t , spitting k i s s e s far a n d wide, k i s s e s w h i c h land on the. eyes do not stay, b u t soon move on in a n o t h e r direction, legs p l u n g e into t r a n s p a r e n t s h e e t s , i n s h o r t , it i s a l l a c t i o n from t h e c r y of selfa b a n d o n to t h e velvet t e e t h . -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 , i n t h e l a s t r a y s of l a z i n e s s , lie b a c k i n h a m m o c k s of c h i c k e n w i r e . It i s difficult t o p e r s u a d e v i l l a g e s q u a r e s not to starve themselves to death, at s u n d o w n . All t h e i r p u e r i l i t y s e r v e s o n l y t o r n a k e

98 t h e m c o n f u s e t h e s p o i l s of t o u r i s m w i t h t h e s t u p i d m a i n t e n a n c e of fat w i s t e r i a s from t h e B e a u c e . T h e s u m m e r in invisible ink, r e a p p e a r s by v i r t u e of t w o n e g a t i v e s : 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 w o r d w i n t e r . Fire is a friend w h o s e r v e s u s well, w h i c h is w h y the- a l l i a n c e 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 s o k e e n l y . T h e w h o l e fire a l a r m is p l a c e d o n a c h e r r y b r a n c h 2 ' . T h e c h e r r y b r a n c h w h i c h 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 t h f o u r s c r e w s t o t h e t r e e t r u n k , a l s b rriade of w o o d , of t h e m o d e l w e k n o w . H e r e w e a r e i n t h e m i d d l e of s p r i n g . W h a t changes have already been accomplished! The fire a l a r m i s visited^by a w h i t e b u t t e r f l y 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 : m o s t - o f t h e l e a v e s h a v e fallen; a h y b r i d 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 f e d wig p r o t e c t s t h e tools u s e d b y t h e s p a r k . T h e r e will s o o n b e a n eclipse of c o u r a g e . T h e l a v a flows t h a t , die o n t h e p l a i n 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 a x e , t h e s a w - t o o t h e d a x e , will h a v e n o m o r e h i s t o r y . T h e s p a r k , still r e s p l e n d e n t , will b e glacial. It will rise u p , v a i n a n d t h e a t r i c a l , over a w o r l d 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 t o d e m o l i s h it f r o m t h e f o u n d a t i o n s , o n c e it is s a t u r a t e d w i t h d r e a m s . It'will t e l e s c o p e , a s t h e E n g l i s h s a y , a s it falls, a n d n o t scatter debris around.. Then the telegraph will.no l o n g e r l o o k like a h a t a d o r n e d w i t h s w a l l o w s o n t h e

99 h e a d of a P a r i s i e n n e i n 1 8 8 9 . While we wait, t h e sky a n d its b y - p r o d u c t s h a v e n o effect o v e r a l l . B l o o d Is m o r e i n d e m a n d b e c a u s e its colour is c o m p l e m e n t a r y to t h e green c o l o u r of s k i n ( 1 9 1 4 - 1 9 1 8 ) , After b l o o d c o m e s t h e b l a c k of glory: y o u t a k e a w h i t e b o o k , y o u c l e a n it, y o u i m m e r s e it p a g e b y p a g e for s e v e r a l m i n u t e s i n 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 c o o k i n g s a l t , a g l a s s of v i n e g a r t o w h i c h y o u a d d 2 0 0 g r a m s of elderberry powder, a n d you sign. 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 g e o m e t r i c a l s p r i n g s of n a t u r e a r e o n l y 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 r y s t a l is a m a z e followed b y m o l e s , g r a p e s b u r n t h e l a s t b u t t e r f l i e s . Seen t h r o u g h t h e loosened s u b s t a n c e , t h e landscape c h a r m s u s w i t h all 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 . Pierced t h r o u g h a n d t h r o u g h by t h e odoriferous 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 t o t h e s e a w h i c h empties. W h a t were we saying? 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 fairly solidly b e a u t i f u l . T h e r e is only a d e g r e e of w a r m t h b e t w e e n t h e l e a f a g e of t h e lilac a n d t h e l a s t s o n g of t h e c u c k o o , b u t o n e c a n b e s u r e t h a t t h i s d e g r e e is p u t to g o o d u s e b e t w e e n t h e t h i r t y - s e v e n t h from h e r e a n d t h e forty-second to there.

LOVE ^ 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 ^ ^ ^ t f ^ ^ s h o u l d concern u s here, is w h a t ^ ^ ^ B ' X creates interplay between unfamilV g V iarity a n d habit, imagination a n d t h e . ^ ^ ^ ^ conventional, faith and doubt, p e r c e p t i o n of t h e i n t e r n a l o b j e c 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 i s s , t h e e m b r a c e , t h e p r o b l e m , a n d t h e i n f i n i t e l y p r o b l e m a t i c a l o u t c o m e of t h e problem. Love a l w a y s h a s time. It h a s b e f o r e it t h e b r o w , from w h i c h - t h o u g h t s e e m s to c o m e ; t h e e y e s , w h i c h will s h o r t l y n e e d t o be d i s t r a c t e d f r o m t h e i r o w n l o o k i n g ; t h e t h r o a t i n w h i c h s o u n d s will c u r d 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 . It 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 t h e i r veils, it h a s t h e p l e a s u r e of s n o w falling i n 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 i p s , j o i n s together t h e eyes, teases t h e b r e a s t s , hollows t h e armpits, opens t h e window; t h e m o u t h a t t r a c t s 101

102 flesh w i t h all i t s power, it f o u n d e r s in a n e r r a n t k i s s , 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 e n d of d a y a n d n i g h 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 wind blends with the smoke, the h a n d s take an i m p r e s s i o n of t h e i r d e s i r e s . 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 d e g r e e . I n p r o b l e m s of t h e first degree, t h e w o m a n , i n s p i r e d by 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 p e r f e c t 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 is to form a single ' b l o c k f r o m t h e t w o of t h e m . I n p r o b l e m s of " t h e s e c o n d degree, t h e w o m a n will t a k e a s a m o d e l H a i d a s c u l p t u r e , from v e r y m u c h t h e s a m e p a r t of t h e w o r l d , a n d g e t a s far a w a y from t h i s e m b r a c e ' a s ' p o s s i b l e ; t h e ' t h i n g is t o 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 all i n agility. I n p r o b l e m s of t h e t h i r d d e g r e e , t h e w o m a n a d o p t s all the n a t u r a l positions i n t u r n . T h e w i n d o w will b e o p e n , ajar, closed, it will give o n t o ' t h e s t a r , t h e s t a r will c l i m b 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 o r t r y t h e o t h e r side of t h e h o u s e : 1. W h e n t h e w o m a n is o n h e r b a c k a n d t h e m a n lies o n t o p of h e 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 o n o n e s i d e and" observe e a c h o t h e r , it i s t h e windscreen. 4 . W h e n t h e m a n * 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 b a c k " b e i n g . o p e n t o

103 o b s e r v a t i o n , 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 side, l o o k i n g a t e a c h o t h e r , a n d s h e t w i n e s h e r l e g s r o u n d t h e m a n ' s legs, w i t h t h e w i n d o w w i d e o p e n , it is t h e o a s 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 e g s a c r o s s t h e m a n ' s , belly, it i s t h e broken mirror. 7. W h e n t h e m a n lies 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, it 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 their backs, t h e w o m a n on top of the m a n ; h e a d down, with 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 , it is t h e train whistle. 9. W h e n the w o m a n sits with: h e r legs 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 , it i s t h e reading position. 10. W h e n t h e w o m a n s i t s , 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 , f a c i n g h i m w i t h h e r b u s t e i t h e r t u r n e d a w a y o r not, it i s t h e faun. 1 1 . 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 lies 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 j h e r legs o n h i s s h o u l d e r s , it i s thciynx. : 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

194 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 t h 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 o n l y o n e of t h e legs i s e x t e n d e d , it i s past midnight. 17. W h e n t h e worrian p l a c e 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 places t h a t one in turn..on his shoulder a n d e x t e n d s t h e first-one, a n d so. o n i n a l t e r n a t i o n , 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 l a c e d o n t h e m a n ' s h e a d , . w i t h t h e o t h e r leg e x t e n d e d , 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 l a c e d o n t o p of e a c h o t h e r , 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 problem, spins r o u n d a n d enjoys his m i s t r e s s w i t h o u t leaving her, while s h e keeps his loins e m b r a c e d , it is t h e perpetual calendar. 21. W h e n the m a n a n d ; his .mistress,lean on e a c h o t h e r ' s b o d y , o r a g a i n s t a wall, a n d t h u s h o l d t h e m s e l v e s u p r i g h t t o t a c k l e t h e p r o b l e m , it is good health to the woodchoppef. 2 2 . 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 sits o n t h e m a n ' s h a n d s locked b e n e a t h her, 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 w a i s t , w h i l e m o v i n g w i t h 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 e a n i n g a g a i n s t , it i s kidnap in a boat. 2 3 . W h e n t h e w o m a n b e n d s over o n h e r h a n d s

105 a n d feet l i k e 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 , it is t h e earring. 24. When the wdtnan gets down on her h a n d s a n d k n e e s a n d t h e m a n k n e e l s , it is Xh&High Altar. 25. W h e n the w o m a n stands on h e r h a n d s a n d t h e m a n holds her u p by her thighs which hold h i m r o u n d t h e w a i s t , it is t h e lifebelt. 26. When the m a n sits on a chair a n d his m i s t r e s s s t r a d d l e s h i m f a c i n g h i m , it Is t h e p a r k bench 27. W h e n the m a n sits on a chair a n d his m i s t r e s s s t r a d d l e s h i m w i t h h e r b a c k t o h i m it i s t h e trap. 28. When the m a n stands u p a n d the 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 b o d y o n t h e b e d , w i t h h e r thighs holding t h e m a n r o u n d t h e waist, it is t h e head of Vercingetorix. 29. W h e n t h e w o m a n crouches on t h e bed 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 it, it 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. it is t h e vetiver. 31. When t h e w o m a n kneels on the bed, with h e r b a c k t o t h e m a n s t a n d i n g u p a g a i n s t it. it 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 p o w e r f u l l y a r c h e d w i t h h e r h a n d a n d h e r feet resting o n t h e g r o u n d , or even better, h e r h e a d a n d h e r feet, a n d t h e m a n k n e e l s , it i s aurora bbrealis. Love m u l 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 r e e d o m

106 t a k e s p o s s e s s i o n of t h e lovers, more_devoted t o e a c h o t h e r t h a n s p a c e t o 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 i g h t of t h e s t a r , i n h e r h a n d t h e life line of h e r lover. T h e s t a r i n t h e w i n d o w slowly revolves, e n t e r s a n d w i t h d r a w s without ceasing, the problem is accomplished, t h e p a l e s i l h o u e t t e of t h e s t a r i n t h e w i n d o w h a s b u r n e d t h e c u r t a i n of t h e d a y . T H E IDEA O F BECOMING ^ ^ l i e h a v e g i v e n 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 p e r f e c t a b i l i t y , t h i s k i n d of ^ k \ l ^ p bear h u n t in m o u n t a i n s which flaf undermine themselves then again w ^ ^ ^ ^ ^ become mountains which undermine t h e m s e l v e s arid a r e in t h e e n d , j u s t m o u n t a i n s . T h e bear in question does not turn, u p its nose at a p p e a r i n g b e t w e e n t w o c a v e - i n s o r t w o 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 . I n 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 t o 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 entirely a b s e n t . Go on, t h e n ! 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 a i m ! P e r h a p s It w o u l d h e right t o s i n g ! Fire! A n d t o t h i n k t h a t s o m e o n e m a y still b e w a i t i n g for m e ! * T h e little t r i c k t h a t c o n s i s t s ' o f giving grief t h e f o r m 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 . P h y s i c a l ' p a i n h a s for u s n e v e r b e e n m o r e t h a n t h e fifth w h e e l of t h e c o a c h of flesh. C o n f i d e n c e o n l y c o m e s i n t o t h e l i g h t of d a y 107

108 t h r o u g h t h e s h u t t e r s of o b s e r v a t i o n . T o a d m i n i s t e r j u s t i c e h a s n e v e 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 c o v e r m a n w i t h t h e t r a n s p a r e n t c o a t of e q u a l i t y . Yet p e o p l e a r e n o t s o s u r e of t h e i r o w n lives a s n o t t o v a l u e t h e lives of o t h e r s . B u t t o n of t h e u n i f o r m I did n o t c h o o s e , b u t t o n w h i c h b e a r s in relief t h e little p o m e g r a n a t e of m y m i n d , tell m e t r u l y t h a t I a m r e p l a c e a b l e . T h e s k y w a s a feather in m y hat, the e a r t h a spur. W h a t is killing' m e after all is w h a t d e s e r v e s t h a t I e x i s t e d . Before m y s t e p s c o u l d b e a l i g n e d w i t h t h e c o m p a s s , very d e e p n a v i g a t i o n w a s u n d e r t a k e n to allow m e t o 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 i m b s t h e s p i r a 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 t o p of t h e s t a i r s it is a m a z e d t o h a v e t o l e a p into t h e air a n d n o longer be reflected in a n y t h i n g b u t a f u t u r e e t c h e d in acid.. T h e s e g l o v e s 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 m e . A n d t h e n , too, w h a t are t h e s e h a n d s I have stretched out, towards which m y h a n d s stretch out, w h a t are these looks I have c a s t on everything, these looks t h a t everything abandoned, what are these memories that maintain w h a t is t o c o m e ? Without ancestors, without descendants. The m a i l b o x a t t h e far e n d - o f t h e g a r d e n is e m p t y ; o r r a t h e r , n o : it is ,silting u p , it is m a g n i f i c e n 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 d e r i v e d from, t h e w e a r i n g a w a y of w h a t h a s ; b e e n w o r n a w a y only t o b e u s e d a g a i n . T h e p o i n t t h a t I

109 c a n n o t r e a c h is a s distant a s t h e point t h a t I have 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 i n 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 rehearsals? If w e c o u l d s t a r t iall over a g a i n , if it 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 t o m e in t h i s poetically definitive p o r t r a i t . I still compare myself to w h a t I could n o t have been. This old m a n i s w a t c h i n g , i n t h e , d i s t a n c e , h i s g r e a t grand-children throwing snowballs at each other t h r o u g h h i s b e a r d , t h i s c h i l d i s d r e a m i n g h e is d e a d , t h e a s s u r a n c e t h a t t h e , n e x t d a y will c o m e m a k e s a b r i d g e o v e 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 myself against m y w e a k n e s s mingles 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 i m e . 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 difference. Here a r e t o d a y ' s little r e m e d i e s i n t o 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 flowers goes, h e r e on a c u s h i o n is t h e l a t e s t i n v e n t i o n all t a n g l e d i n i t s w i r e s , h e r e i s t h a t p r e t t y n o i s e of pile d r i v i n g w h i c h h a s s u c h f u n w i t h t h e gravel. I n t h e c o m p l e t e oblivion of s t e r i l e t e r r a i n s , p o t e n t i a l discoveries a r e sleeping their first 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 nights, a being that you knew h a s become a new being. S o m a n y r u n n e r s a n d w h a t a r a c e ! It i s s o far t h a t t h e r e will b e n o o n e t o w a i t a t t h e finishing line. T h e F r o n t r u n n e r s will h a v e o v e r t a k e n t h e

110 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 after all: y e t , g r e a t c a r e is taken, 1 a n d for g o o d r e a s o n , n o t t o c o u n t t h e l a p s . . . I n o u r b r i e f r e l a t i o n s w i t h e x i s t e n c e , 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 little. O u r m e m o r y of t h e c u r v e s of t h e t r a j e c t o r y v a n i s h e s . B y a n i n d e f i n a b l y s t r a i g h t l i n e t h e w a y is m a r k e d , arid r e t u r n i n g is m a d e impossible. And the r u n n e r o v e r t a k e s himself... h e h a s b e c o m e invisible. His i n s a n e l y l o w e r e d b a c k f o r m s a n i n t e g r a l p a r t of t h e s l o p e t h a t h e is climbing. His b a c k m u s t b e t e n s e d i n p a r a l l e l t o all t h o s e b e n t - d o w n b a c k s , all 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 t o 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 e n d l e s s l y falling i n t o a suffocating p e r f u m e 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 still o b s c u r e s t h e world, it will p u t a n d e n d , too. t o t h o s e q u a r r i e s of t h e w o r s t i n 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 i n t h e d e s e r t s of good. T h e i n v i s i b l e b a r r i e r s of h u m a n t h o u g h t , t h e i n v i s i b l e b a r r i e r s of s i m i l a r b o d i e s , will b u r y a s t h e y c o l l a p s e all t h e enemies of h u m a n kind.

T H E

ORIGINAL

J U D G E M E N T

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o n o t read, look at t h e designs created by the white spaces between t h e w o r d s of s e v e r a l l i n e s I n a b o o k a n d d r a w i n s p i r a t i o n from t h e m .

Give y o u r h a n d t o o t h e r s t o k e e p . D o n o t go t o 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 t o o k off w h e n y o u r e a c h e d t h e a g e of r e a s o n . P u t o r d e r i n i t s place, u p s e t t h e c o b b l e s i n t h e road. If y o u b l e e d a n d y o u . a r e a m a n , w i p e t h e l a s t w o r d off t h e s l a t e . F o r m y o u r e y e s b y 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 d o n o t k n o w . 113

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114 I h a v e k n o w n t h r e e f o o t p l a t e - m e n , five w o m a n levelcrossing-keepers a n d one male levelcrossingkeeper. W h a t about you? D o n o t p r e p a r e t h e w o r d s y o u yell. Y o u a r e t h e p r u n e r of y o u r o w n life. l i v e in deserted h o u s e s . They h a v e only b e e n lived in b y y o u . M a k e a b e d of c a r e s s e s for y o u r c a r e s s e s . *

115 - W h a t y o u find b e l o n g s t o y o u o n l y s o l o n g a s you hold out your hand. Lie w h i l e b i t i n g y o u r j u d g e s ' e r m i n e .

H a n g yourself, b r a v e Crillon, like a p e n d u l u m , t h e y will 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 depends." Tie d o w n t h o s e f a i t h l e s s legs. Let t h e d a w n s t o k e 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 w a i t , w i t h y o u r feet f o r w a r d . T h a t i s h o w y o u will g o o u t o n e d a y s o o n , a n d well w r a p p e d u p , too. Light u p t h e p e r s p e c t i v e s of t i r e d n e s s .

If t h e y c o m e k n o c k i n g a t y o u r duor, w r i t e y o u r l a s t w i s h e s w i t h 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 among the pale dresses: S i n g of t h e g r e a t , p i t y of m o n s t e r s . B r i n g t o m i n d all t h e w o m e n s t a n d i n g o n t h e Trojan horse. Do not drink water. 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 m i d d l e y o u will find a w i n g a n d a s e r p e n t . S p e a k according to the m a d n e s s t h a t seduced you. has

Sell w h a t y o u n e e d t o e a t , a n d b u y s o m e t h i n g to starve with. Give t h e m a s u r p r i s e b y n o t confusing t h e f u t u r e of t h e v e r b "to h a v e " w i t h t h e p a s t of t h e v e r b "to be." B e t h e glazier with a s t o n e e m b e d d e d in t h e brand-new pane.

C l o t h e y o u r s e l f i n g l i t t e r i n g c o l o u r s , it i s n o t t h e done thing. ;s

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116 M a t c h y o u r g a i t .to t h a t of s t o r m s . If s o m e o n e a s k s t o s e e t h e i n s i d e of y o u r h a n d , s h o w t h e m t h e undiscovered planets in the heavens. O n t h e s e t d a y , y o u will c a l c u l a t e t h e r a v i s h i n g d i m e n s i o n s of t h e leaf-insect. T o 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, l o o k a t h e r h a n d s . Her face is lowered. S e p a r a t e c h a l k from c o a l , a n d p o p p i e s from blood. D o m e t h e f a v o u r of c o m i n g i n a n d o u t o n tiptoe. W a t c h o u t for t h e fishwives of g o o d t a s t e , t S e m l - c o l o n s ; s e e h o w a m a z i n g t h e y a r e , e v e n in punctuation. Lie d o w n , get u p , a n d n o w lie d o w n . D o n o t seize t h e t i m e to s t a r t afresh. Until the n e w order, t h e n e w monastic order, w h i c h is to s a y .until, t h e m o s t beautiful y o u n g w o m e n t a k e t o w e a r i n g a decollete c u t i n t h e form of a cross: with the two horizontal 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 singed. 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 , abstain. Never kill a n i g h t b i r d .

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L o o k 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 help you to hear. Miss t h e apparent target w h e n you should b e piercing y o u r own h e a r t with t h e arrow.
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Perform miracles so t h a t y o u c a n d e n y t h e m .

B e a s old a s t h e a g e d r a v e n w h o s a y s : T w e n t y years.

D r a w i n 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 .

Argue t h a t your head, unlike a horse chestnut, i s entirely w e i g h t l e s s b e c a u s e it h a s n o t y e t fallen. S u g a r w i t h 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. <. Think, without swallows c o u l d b e like. batting an eyelid, what

118 Write imperishably in s a n d . Never w a i t for yourself. Correct your parents. Do not keep a b o u t you things t h a t do not offend c o m m o n s e n s e . 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 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 . three

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Look closely a t t h o s e two h o u s e s : i n o n e y o u are dead a n d in the other you are dead. 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 yourself in m y place to answer. , ... B e a f r a i d of w a l k i n g t o o i c l o s e t o t h e w a l l hangings w h e n you are alone a n d you hear your r n a m e called. , With y o u r o w n h a n d s wring o u t y o u r body over o t h e r b o d i e s : a c c e p t t h i s p r i n c i p l e of h y g i e n e w i t h o u t flinching. O n l y e a t b i r d s t h a t a r e i n leaf: t h e a n i m a l t r e e m a y b e subject to a u t u m n . Your freedom with which y o u m a k e m e laugh u n t i l I c r y 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 e x c e p t i o n a l p o w e r of l a s t i n g , h a n g y o u r s e l f b y t h e root. Leave it to t h e s t u p i d pillow to w a k e y o u u p .

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 w r i t e w i t h a c o m m u n i o n wafer p r o f a n e d . Do n o t forget t o s a y t o t h e revolver: I'm delighted, b u t I d o t h i n k I have m e t you s o m e w h e r e before. T h e butterflies outside a r e only trying to join u p with t h e butterflies inside: do not replace in y o u r s e l f , if it s h o u l d h a p p e n to g e t ^ b r o k e n , a s i n g l e p a n e of t h e s t r e e t l a m p . C o n d e m n w h a t is p u r e p u r i t y is c o n d e m n e d in you. O b s e r v e t h e light i n t h e m i r r o r s of t h e b l i n d . W o u l d y o u like to o w n a t o n c e t h e s m a l l e s t a n d t h e m o s t disturbing book in t h e world? Have t h e s t a m p s from y o u r love l e t t e r s b o u n d u p a n d w e e p i n s p i t e of everything, t h e r e is good r e a s o n t o d o so.

120 C u t d o w n trees if y o u will, a n d break rocks too, b u t beware, beware the pallid light of utility. If y o u look a t yourself w i t h o n e eye, c l o s e t h e other. . D o n o t abolish the s u n ' s red b e a m s . T a k e t h e third s t r e e t o n t h e right, t h e n t h e first o n t h e left, y o u will c o m e to a square, t u r n t h e corner b y t h e cafe y o u know, t a k e t h e first street o n t h e left, t h e n t h e third o n t h e right, s t i c k y o u r s t a t u e o n t h e ground a n d s t a y put. Without thinking w h a t y o u will d o w i t h it, .pick u p t h e fan that w o m a n dropped. Knock o n t h e door, s h o u t "Come in," a n d d o n o t go in. Y o u have nothing to d o 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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