André Breton's Swinging Doors

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1996

André Breton’s Swinging Doors

Katharine Conley College of William and Mary, [email protected]

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Recommended Citation Conley, Katharine, André Breton’s Swinging Doors (1996). Romance languages annual, 8, 28-32. https://scholarworks.wm.edu/aspubs/1764

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I I i .,f t I

rI. ANDRE BRETON'S SWINGING DOORS 1

Katharine Conley Dartmouth College

There is a tendency to view surrealism as an historical group activities,2 as Susan Suleiman has stated unequivo- movement with Andre Breton as its inflexible founder and cally, "between 1924 and 1933, during the most dynamic prophet. Such is the implication of his nickname, the and 'ascendant' period of the movement, not a single "pope" of surrealism. However, while Breto~ .was cer- woman was included as an official member" (29).3 In ref- tainly didactic in his pronouncements and wnnngs, and erence to surrealism'S most outspoken man, Simone de even in his "excommunications" of such formerly loyal Beauvoir explains that "Breton ne parle pas de la femme companions as Robert Desnos, it is a mistake to interpret en tant qu'elle est sujet" (375). Nevertheless, Woman as a his body of work as a closed system. Breton himself took construct played a significant role in surrealist philoso- stock of his own development on a regular basis. Each phy. Reciprocal love was idealized by Andre Breton and time he fell in love, for example, he wrote a book and in other participants in the group, and Woman was every- each of those books, Nadja, L 'Amourlou, and Arcane 17, where visible as a surrealist icon.4 Renee Riese Hubert af- he reread and rethought himself in a way that serves as a firms that by the 1940s, "Breton's own views, including directive to us, his readers, on how to read, reread, and re- his ideas on women, had also evolved, though perhaps not think him. The key phrase may be found in Nadja, where sufficiently to gain the suffrage of all emancipated fe- Breton proclaims his own approach to reading: "Je persiste males" (371). a reclamer les noms, a ne m'interesser qu'aux livres qu'on While Breton's shortcomings and shortsightedness in laisse battant comme des portes, et desquels on n'a pas a his portrayal and praise of women is evident, in the long ehercher la cle" (Oeuvres completes 1: 651, and again, in run what may be more important is to recognize that reference to a singular door, 751). many of his ideas, such as objective chance, were inextri- Breton's idea of a door that opens and reopens continu- cably linked to a feminine presence. He opened the door to ously, like a door pushed by the wind or a swinging door, women, albeit inexpertly, so that they could-and did- returning to a singular point of departure yet ever opening take possession of what Suleiman calls "the subject posi- onto new vistas of thought, serves as an appropriate em- tion" in surrealism, correct him, and participate in the dis- blem for the Surrealist project and his activity within it. course he initiated on art and society (19). From his statement in Nadja, to the act of rereading himself explicitly in L'Amour lou, to the call on humanity to In considering Woman as the ultimate example of the rethink its value system in Arcane 17, Breton persists in a process that resists closure and values open-mindedness swinging door approach to reading and writing for Breton above all else. Furthermore he enacts the swinging door it is important to look beyond the ways he used women as theme in each of these books structurally by constructing examples to see how women have taken inspiration from them in a way that confirms his rejection, stated in the Breton's innovations in writing. The swinging door itself first Manifeste, of traditional narrative coherence and form. as a symbol for a resistance to traditional narrative shape What is troubling to many contemporary readers of Bre- and to closure, as well as a symbol for the reading process ton is the way women serve as his most tangible exam- as active and non-linear, may be seen as appropriately em- ples for the aspect of the door opening and reopening linked to his own emotions. Women substituted for one IAn expanded version of this study will appear in the fourth another embody the swinging door theory at the end of chapter of my forthcoming book. Automatic Woman: The Nadja and at the beginning of L 'Amour lou; he portrays Representation of Woman in Surrealism (U of Nebraska Pl. himself as waiting for the ultimate love and the ultimate 2For a pertinent reading of one of the early photographs of woman as an example of his continued receptive stance in the surrealist group, including Mick Soupault and Simone relation to the ultimate artistic breakthrough or philosoph- Breton, see Suleiman, Subversive Intent (20-24). Marguerite ical idea. Woman as an objectified ideal was ever impor- Bonnet's account of the "period of sleeps," indicates that tant to Breton and in these books the most remarkable ex- women participated in the experiments. including Simone Breton, and women friends of Peret, Vitrac, and Picabia (262- amples of his open-mindedness, his swinging-door ideal- 67). ism in relation to thought, reads like stereotypical Don- 3Starting in 1935 women such as Meret Oppenheim. Dora Juan sexism. He lauds the women in his life: each one of- Maar, Valentine Hugo, Leonor Fini, and others began to add fers him a fresh perspective on himself, like a traditional their names to surrealist tracts. See Tracts surrealistes. Gisele muse. Prassinos, only 14 in 1935, was "discovered" by the surreaj, This laudatory stance, however, did not extend to the in- ists, who published her work and admired the fierce amorality clusion of women into the surrealist group until the mid of her automatic texts (Eluard 140). 1930s. Though women may be seen in photographs of 4Apart from Breton's books devoted to his relationships see the Second Manifeste in Oeuvres completes I: 822-23, L"]m- maculee Conception in Oeuvres completes 1: 874, and Recherches 53.

28 blematic of more contemporary writing, including writing striking experience of objective chance-of a chance meet- by women such as Quebec's Nicole Brossard. A closer ing with a person who so exactly embodies his current consideration of the swinging door in Breton works dedi- philosophical train of thought; the third is a meditation on cated to women is in order: of the swinging door as a book writing and the ultimate romantic example of objec- theme in Nadja, L'Amour fou, and Arcane 17, including tive chance-his meeting with X (Suzanne Muzard), the the examples of women, and also as a structural organiz- woman he hopes will be the last love in his life. This ing principle within the text. shifting of subject matter seems appropriate to an author Throughout Nadja Breton expresses a wish to "resolve who continually questions himself in the book, not only opposites," which he illustrates by what Gerald Prince has with the opening question, "Qui suis-je"? (Oeuvres com- termed "la strategic du desordre et du discontinu"S typical pletes 1: 647) but with the questions that close the central of the "faits-glissades et ces faits-precipices" to which he Nadja section of the book: refers at the beginning (Oeuvres completes I: 651). The "Qui vive?" Qui vive? Est-ce vous, Nadja? Est-il vrai work as a whole has a structural uncenteredness typified que Yau-dela, tout l'au-dela soit dans cette vie? Je ne by the two anecdotes in the third and final section that vous entends pas. Qui vive? Est-ce moi seul? Est-ce thematically enact the swinging door theme in the way moi meme? (Oeuvres completes 1: 743) they accent repetitions. Breton begins this final section by explicitly describing the process of going back over his The structure of the book Nadja, therefore, itself functions own writing, of re-visiting some of its locales (Oeuvres like a swinging door: each time Breton begins again he completes 1: 746-51): in other words, even when some- reviews some of the material previously presented while thing is written, it is not necessarily finished and may be refocusing his perspective. reconsidered. Then he gives two examples. First, there is a footnote about a painter in Marseille A corollary to the repetitions in the two anecdotes from who can never quite complete his work because he cannot the last section of Nadja may be found in the idea of sub- paint fast enough to capture the setting sun, a fact that stitutability he brings up in the final paragraphs, in refer- Breton prizes: "Son tableau, fini pour lui et pour moi le ence to how X seems to have substituted for Nadja in his plus inacheve du monde, me parut tres triste et tres beau" experience of objective chance. He writes to X: (Oeuvres completes 1: 746). Second, there is the sadly comical story he tells X (the woman with whom he falls Sans le faire expres, tu t'es substituee aux formes qui in love at the end of Nadja) about Monsieur Delouit, a rn'etaient les plus familieres, ainsi qu'a plusieurs fi- man who cannot remember the number of his hotel room gures de mon pressentiment. Nadja etait de ces from one moment to the next, becoming so confused that dernieres, et il est parfait que tu me l'aies cachee, he falls out of the window. Breton describes this story as Tout ce que je sais est que cette substitution de per- "une si stupide, une si sombre, une si emouvante histoire" sonnes s'arrete a toi, parce que rien ne fest substitu- (Oeuvres completes 1: 749), and yet he includes it because table, et que pour moi c'etait de toute eternite devant its subject pertains to his own efforts to keep beginning toi que devait prendre fin cette succession d'enigmes. anew. (Oeuvres completes 1: 751-52) In effect these anecdotes of two men who keep repeating the same action in an effort to get it right mirrors Breton's For Breton, each new woman repeats/substitutes for the own writing strategy in Nadja. When Breton begins the last one by being the same and yet completely different, last section with the sentence, "J'envie (c'est une facon de similar to the perspective from behind a swinging door parler) tout homme qui a Ie temps de preparer quelque that, each time the door opens and reopens, reveals a fresh chose comme un livre" (Oeuvres completes 1: 744), the perspective on the landscape beyond. It is the crucial idea emphasis must be placed on his parenthetical aside: he of the swinging door that permits Breton to begin his does not envy such a man; if anything there are too many story again, with optimistic enthusiasm, each time he such men, in his opinion. Rather, he questions the pro- writes a book, even when that book, like Les Vases cess of doing a book at all, the belief in the possibility of communicants, is essentially the story of his pain from a finished product. love lost. In Les Vases communicants Breton presents the Nadja itself keeps changing track, opening up new vis- notion of "la personne collective de la femme" (Oeuvres tas, like Nadja's name, which she chose partly because it completes 2: 152), in which all the women of Paris who is only the beginning of the Russian word for hope: catch his eye are, at the same time, one unique Parisian "Nadja. parce qu'en russe c'est le commencement du mot woman and infinitely substitutable amongst themselves. esperance, et parce que ce n'en est que Ie commencement" Having lost X by the time he writes L 'Amour fou, he (Oeuvres completes 1: 686). The first section is essen- adapts this image of the substitutability of the women in tially a meditation on Breton's notion of objective chance, his life into an ever-hopeful view of love relationships. of capital importance to surrealism; the second is devoted In the opening lines of L 'Amour fou Breton follows a to his encounter with Nadja herself, for him, his most fantastical evocation of a series of "boys" dancing in his imagination, "comme des porteurs de des: ils portent les dis des situations" (Oeuvres completes 2: 675), with an SSee Prince. equivalent series of "femmes assises, en toilettes claires,

29 les plus touchantes qu'elles aient portees jamais. La moi a travers cette salle de cafe depuis la porte. Ce symetrie exige qu'elles soient sept ou neuf" (Oeuvres mouvement, dans la me sure meme ou, agitant une as- completes 2: 676). Who are they? For him, for any man: sistance vulgaire, il prend tres vite un caractere hosti- "Ce sont les femmes qu'il a aimees, qui l'ont aime, celles- le, que ce soit dans la vie ou dans l'art, m'a toujours ci des annees, celles-la un jour. Corn me il fait noir!" averti de la presence du beau. (Oeuvres completes 2: (Oeuvres completes 2: 676). And yet, for Breton, all these 713) faces yield the mental image of only one face, "le demier Breton underscores the significance of the repetitive na- visage aime" (Oeuvres completes 2: 677), a situation he ture of his anaphoric presentation of Jacqueline by show- deplores, for he persistently yearns for "un etre unique," ing in another statement about love how he has also gone and so, like the hapless Monsieur Delouit, he keeps trying back over previously considered ideas, reread, and rewritten again. them: These other women have helped create a place in his heart for the ideal being, whom he has yet to meet at the Les hommes desesperent stupidement de l'amour- time of writing Part One of L 'Amour fou. He hopes a j'en ai desespere=-, ils vivent asservis a cette idee que beloved woman will emerge from his composite image of l'amour est toujours derriere eux, jamais devant Woman. For he would prefer to see an end to the women eux .... Et pourtant pour chacun la promesse de "swinging doors," which for him ultimately form as nega- toute heure a venir contient tout Ie secret de la vie, en tive an image as they do for women readers of Breton. To puissance de se reveler un jour occasionnellement this end, however, Breton is his own worst enemy. Once dans un autre etre. (Oeuvres completes 2: 713-14) Breton finds the newest "ultimate" woman in L 'Amour fou, he still cloaks her in too many romantic trappings for He stresses the importance of reconsidering old ideas to her to emerge in actuality as a living being. With the surrealism again in the section where he shows how his reprisal of the image of substitutability in L 'Amour fou own automatic poem, "Tournesol" (written in 1923), an- Breton demonstrates how he rereads himself in an attempt ticipated his meeting with Jacqueline by eleven years. Re- to get his ideas right, in a manner akin to the efforts of membering the poem one morning while getting dressed. the Marseille painter and M. Delouit. He will reread and after having spent the magical night he has already de- correct himself again in Arcane 17 in the sense that he scribed wandering the streets of Paris with Jacqueline, he will abandon this problematic notion of women substitut- invokes the critical experience of rereading: ing for one another in his life. Breton's structural use of the swinging-door technique C'est ainsi que je fus conduit, seulement Ie soir, a of repetition in L 'Amour [ou has a more felicitous effect. rouvrir un de mes livres a la page ou je savais les His anaphoric evocation of the shiver of delight he experi- relever [the phrases from "Tournesol"]. Cette con- ences at the sight of Jacqueline entering the cafe where he cession a tout ce que je ne voulais jusqu' alors pas is dining on May 29th, 1934 illustrates not how one sub- savoir devait etre une suite ininterrompue, fulgurante, stitutes for another but the way in which repeated view- de decouvertes. (Oeuvres completes 2: 724) ings of the same image, as with rereadings of the same There follows Breton's auto-analysis of the poem in notions, can yield increasingly enriching impressions that, more directly than in a linear narrative, mirror lived expe- which he demonstrates the benefits of rereading. His own rience, what he calls in Nadja, "la vie a perdre haleine" automatic writing becomes comprehensible to him in ret- (Oeuvres completes 1: 744). rospect, he can engage with it, finally, as he does with Undoubtedly the greatest, and most lyrical "shock" de- Jacqueline in L'Amour fou, in a way that contrasts with scribed by Breton is the one produced in him by his first his earlier experiences with automatism. sight of his second wife, Jacqueline Lamba. Breton feels her beauty before seeing it: his physical awareness of her Arcane 17 is also characterized by repetitions-the repe- precedes his visual-intellectual perception of her. He re- tition of images-and also by the rereadinz of the Melu- produces his shockwaves of feeling textually by anaphori- sine myth. He has already evoked the Meiusine myth in cally recommencing his description of her entrance at the Nadja in a passage where she asks him a question about I beginning of subsequent paragraph-sections: "Cette jeune another mythological creature, the Medusa. His retelling femme qui venait d'entrer"; "Cette femme qui venait d'en- of their conversation in Nadja reveals his profound am- I trer": "Cette femme qui venait d'entrer" (Oeuvres com- bivalence regarding Nadja, an ambivalence in regard to pletes 2: 712; 714). He specifies that he first became women that he seems to have overcome in Arcane 17. It I aware of this "etre tres jeune" as a result of an undulating is perhaps most eloquently expressed by Nadja herself movement, a vibration, that reached him from across the when she asks him, "Qui a tue la Gorgone, dis-moi, dis" I (O~uvres completes 1: 713). He reports that she has just room: finished recreatmg the character of Melusine for him Je I'avais deja vu penetrer deux ou trois fois dans ce (Oeuvres completes 1: 710). Melusine was the benign lieu: il m'avait A chaque fois ete annonce, avant de fourteenth-century French fairy who was condemned to I s' offrir a mon regard, par je ne sais quel mouvement perp~tuallif~ as an inhuman "arne errante" (the very ex- de saisissement d'epaule a epaule ondulant jusqu'a pression Nadja uses to describe herself [Oeuvres completes I

30 I ! 1 1: 688]) when her husband betrayed her by spying on her end of Part One while at the end of Part Two Breton spi- in her bath. By juxtaposing Melusine and the Medusa rals back to the other of the emblematic opening images, with her portrayal and subsequent question, Nadja links the s.tar overlooking him at the very beginning. In the them. Like the Medusa, Melusine was only partly human. opemng paragraph he describes the Rocher Perce as most Where the Medusa had snake-hair, Melusine, a mythical magnificent in its role as nest to multiple birds: lady of the spring like the woman figured on the tarot card, arcane 17, had a fish tail. They both had superhuman ~ais c'~~t la une i~a~e qui ne prend de force qu'a par- powers-the Medusa to turn men into stone, literally to tl~ de 1 Instant ou 1 on dec ouvre que le repos des petrify them, and Melusine to grant good fortune and oiseaux epouse les anfractuosites de cette muraille a wealth to her husband, as long as he did not attempt to pic. (10) discover her secret. 6 By switching from Melusine to the Medusa Nadja was This image of the rock as a habitat is expanded when it asking Breton whether he was not in fact "petrified" by reappears at the end of Part One as a mythological ark: her, whether he did not fear her in some essential way. She was asking, in effect: in my game of playing Melu- eUe est chargee de toute la fragilite mais aussi de sine do you see Medusa? And also: do you understand that toute la magnificence du don humain. Enchassee dans my own inhuman aspect-my madness-is dangerous and son merveilleux iceberg de pierre de lune, elle est mue could hurt both of us? Have you discovered my secret, par trois helices de verre qui sont l'amour, mais tel will you betray me the way Melusine's husband betrayed qu'entre deux etres il s'eleve a l'Invulnerable l'art her and, having recognized my disability, my "fish tail," mais seulement l'art parvenu a ses plus hautes in- will you force me to remain permanently inhuman, that is stances et la lutte a outrance pour la liberte. A l'ob- to say, mad? Nadja expressed her awareness of an instabil- server plus distraitement du rivage, le Rocher Perce n'est aile que de ses oiseaux. (54) ity within herself when she identified with Melusine not only in words, but also in her self-portraits where she The other emblematic image, of the star, linked to draws herself with Melusine's long hair and fish tail. In Elisa, is also repeated. From "le tremblement d'une etoile askin~ for the name of Perseus, the mythological hero au-dess~s de tout" in the opening paragraph (10), it be- who ~l1.ed the Me?usa by cutting off her head, Nadja was comes, In the final pages, the rediscovered star, "du grand also indirectly asking Breton to identify himself, to admit matin, qui tendait a eclipser les autres astres de la fenetre" whether or not a variation on such an act were not in his (107). Breton has thus spiraled back to the beginning, at power: not to cut off her head so much as to fail to pre- mid-point and at the end, in order to emphasize struc- vent her from "losing" it on her own. Her fear was pre- turally one of his principle themes in the novel: the need scient as she did lose her mental health to the extent that to reconsider the course of Western civilization in the af- she was kept in a mental hospital until her death, and as termath of the war. It is this need that motivates him to Normand Lalonde notes, at Breton's hand she was trans- reimagine the Melusine myth and to make the declaration formed from a living being into an inanimate book title he does about the necessity of recognizing women and al- by an operation analogous to that twentieth-century petri- lowing them take over in the domains where men have so fying device of photography (55). clearly failed: In Arcane 17, Breton portrays Melusine not as a lost- soul emblem for the woman he is facing but as a renewed L'heure n'est plus, dis-je, de s'en tenir sur ce point Ii and powerful feminine being, whose strength reflects that des velleites, a des concessions plus ou moins hon- of the woman to which this new book is dedicated his teuses, mais bien de se prononcer en art sans equivo- third wife, Elisa. This is "Melusine apres Ie cri," reco~sti- que contre l'bomme et pour la femme, de dechoir tuted ~d powerful (59). Her presence repeats her presence l'homme d'un pouvoir dont il est suffisamment etabli in Nadja and corrects that ambivalent view. Here the the- qu'il a mesuse, pour remettre ce pouvoir entre les matic repetitions are even more directly linked to the mains de la femme, de debouter l'homme de toutes book's structure that constitutes a major shift away from ses instances tant que la femme ne sera par parvenue the swinging door strategy evident in Nadja towards that a reprendre de ce pouvoir sa part equitable et cela non of the spiral. The rereading and reconsidering introduced plus dans l'art mais dans la vie. (59) with the idea of the swinging door in Nadja is subtly adapted to suggest a narrative shape that incorporates the By altering the swinging door theme and structure from process of retracing one's steps in Arcane 17 while ever Nadj,! and transforming it into a spiral in Arcane 17 Bre- heading off in new directions. ton grves us another example of his strategy of rethinking The most recognizable repeated images in Arcane 17 are that Involves not only repetition-going back to the point of the star and the Quebecois Rocher Perce. Both of them o.f departure to head off in a new direction-but progres- appear. at the beginning of the book and then again, in sion as well. As he demonstrated in his analysis of his suateglc places: the Rocher Perce is evoked again at the own. a~tomat!c poem in L 'Amour lou, Breton believed that.It IS possible to learn from the past and that reconsid- eration of the past is an important constitutive element in 6Por the Melusine story see Lecouteux (19-24).

31 ------~----

surrealism. This belief should be regarded as his strongest _. Oeuvres completes. Vol. 2. Ed. Marguerite Bonnet legacy to avant-garde writing practices that have followed and Etienne-Alain Hubert. Paris: Gallimard-Plelade him, including the strategies enacted by feminist Quebec 1992. ' writer Nicole Brossard. who celebrates the spiral as a Conley, Katharine. "The Spiral as Mobius Strip: Inside! model for writing in a way that resists closure and high- Outside Le Desert mauve." Quebec Studies 18 (1994): lights the materiality of the book.? It is time to see how 149-58. Breton's writing strategy anticipated more recent avant- Eluard, Paul. Donner a voir. Paris: Gallimard, 1939. garde ideas about writing. It is time to reread Breton. Hubert, Renee Riese. Magnifying Mirrors: Women, Sur- realism, and Partnership. Lincoln: U of Nebraska P 1994. ' Lalonde, Normand. "L'Iconographie photographique de Nadja." French Review 66.1 (1992): 48-58. Lecouteux, Claude. Melusine et le Chevalier du cygne. Works Cited Paris: Payot, 1982. Beauvoir, Simone de. Le Deuxieme Sexe. Vol. 1. Paris: Prince, Gerald. "La Fonction metanarrative dans Nadja:" Gallimard-folio, 1949. The French Review 49.3 (1976): 342-46. Bonnet. Marguerite. Andre Breton: Naissance de l'aventure Recherches sur la sexualite. Ed. Jose Pierre. Paris: Galli- surrealiste. Edition revue et corrigee. Paris: Cortis, mard,1990. 1988. Suleiman, Susan Rubin. Subversive Intent: Gender, Poli- Breton. Andre. Arcane 17. Paris: Pauvert, 1971. tics and the Avant-Garde. Cambridge: Harvard UP _. Oeuvres completes. Vol. 1. Ed. Marguerite Bonnet 1990. ' and Etienne-Alain Hubert. Paris: Gallimard-Plerade, Tracts surrealistes et declarations collectives. T. 1. 1922- 1988. 1939. Ed. Jose Pierre. Paris: Losfeld. 1980.

71have analyzedthe connectionsbetweenBrossardand Surre- alism in my article "The Spiral as Mobius Strip: Inside/Out- side Le Desert mauve."