Walter Benjamin Essay On Surrealism

Löwy reminds us that we should not be indifferent to surrealism’s past —“Anything that cannot find a spark of hope in the past has no future” — even as he insists that, if it is to have a future, surrealism must remain radically open: “The old ways, the paved roads, and the beaten paths are in the hands of the enemy.

New ways must be found — the wanderer makes the path.” (116) As this closing exhortation makes apparent, Morning Star is a committed text, written by a participant in the movement it chronicles.

This provides the book with a satisfying coherence, as Löwy’s constructive project enables him to glue together into a single, multilayered image what might otherwise appear to be unrelated historical and biographical vignettes.

At times, however, Löw’s commitment seems to discourage him from raising thorny questions about the history and politics of the movement — questions that must be worked through if we are to find new paths to surrealism and socialism in the 21st century.

While a few surrealists, most notably Dalí, wandered over to this conservative camp, the vast majority allied for most of their lives with Left movements (particularly Trotskyism and anarchism), and in their works heaped scorn on the reactionary romantic fetishes of family, race and nation.

One of Löwy’s projects in Morning Star is the reconstruction and explanation of these relatively consistent political commitments.

These montages open up questions about the gender and sexual politics of surrealism — questions that Löwy addresses, though somewhat indirectly, in his lengthy chapter on Claude Cahun.

Cahun, whose works have recently been rediscovered by a cohort of younger queer and feminist artists, was a prominent early surrealist who worked, like Man Ray, in the medium of photography.

Second, Löwy suggests that the influence of Marx, a critical inheritor of the Enlightenment, channeled surrealists’ romantic passions in socially emancipatory directions.

As his historical chapters make clear — particularly on Pierre Naville’s The Revolution and the Intellectuals — surrealists have widely embraced the Marxian critique of capitalism and have consistently moved in the same circles as revolutionary socialists.

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