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Books : Literature & Fiction : Authors, A-Z : ( A ) : Aragon, Louis
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By Louis Aragon. Translated and with an Introduction by Simon Watson Taylor.
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Flesh Unlimited is a compendium edition of three classic erotic/ surrealist novellas: Les Onze Mille Verges and Les Mémoires d'un Jeune Don Juan by Guillaume Appollinaire and Le Con d'Irène by Louis Aragon.Dadaist poet Guillaume Apollinaire fine-tuned his uniquely poetic and surreal vision to produce these two materpieces of the explicit erotic imagination at the turn of the century, works which compare with the best of the Marquis de Sade. In Les Onze Milles Verges, debauched aristocrat Mony Vibescu and a circle of fellow sybarites blaze a trail of uncontrollable lust, bloody cruelty and depravity across the streets of Europe. Whilst in Les Mémoires d'un Jeune Don Juan, a young man reminisces his sexual awakening at the hands of his aunt, his sister and their friends as he is utterly corrupted in a season of carnal excess.
Louis Aragon's Le Con d'Irène is the intense story of a man's torment when he becomes fixated upon the genitalia of an imaginary woman and is reduced to voyeuristically scoping her erotic encounters in-between describing various events in brothels and other sexual adventures.
Translated from the original, complete and unexpurgated versions by Alexis Lykiard (translator of Lautréamonts Maldoror), Flesh Unlimited has a general introduction and notes section.
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Surprising juxtapositions like goats spread across pianos and fearful optical illusions like eyeballs being sliced characterized the surrealistic movement in the arts in 1928 when Louis Aragon published Traité du Style in Paris. Aragon had become ever more contemptuous of vogues and pretensions. In the name of surrealism, he produced the first significant critique of it. Instead of merely upsetting old relationships and skewering sensibilities, Traité du Style was meant to shock with a capital S, and it did. Only now has it been completely translated into English. Although time has attenuated the scandalous nature of Aragon's language, his criticism has lost none of its edge in this translation by Alyson Waters.
From the beginning, which describes a postcard showing a little boy on a potty as representative of French humor and the French spirit, to the end, an attack in scatalogical language on the French military establishment, Aragon zeros in on one target after another. Nothing escapes his notice or venom—whether it is the masturbatory output of contemporary writers, the prostitution of culture, or the perversions of government.
Still, Treatise on Style is more than a brilliant diatribe directed against what Aragon perceived as the moral, political, and intellectual failures of his time. He proposes surrealism, in art as in life, as a means to achieve a valid ethical and aesthetic "style." Surrealism, as Aragon defines it here, loses some of its mythical and mystical trappings; it becomes inspiration with rolled-up shirt-sleeves. He exercises this faculty in his own writing, which aims to shake readers out of their complacency by alternating the intensely lyrical with the borderline obscene and juxtaposing the language of the educated elite with that of the street. Whether denouncing religious fantacism or dispensing praise, Aragon remains true to his idea of the surrealist project: to reclassify certain values through the act of writing itself. Treatise on Style entertains as a portrait of a movement and of a personality who kept moving.
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This is the first paperback edition in English of one of the most important and entertaining works of Surrealist fiction. Aragon's 1922 novel boldly appropriates the title and plot of a didactic 17th-century epic, recounting the adventures of Odysseus' son Telemachus; but the moralistic underpinnings of the original are replaced by a Surrealist's dedication to the strange, the beautiful, and the erotic. Though a classic of Surrealism, this is not automatic writing; on the contrary, it is a wryly self-conscious book, full of the kinds of intertextual games associated with writers such as Borges and Calvino. As the Huberts comment in their Introduction, "Aragon did not have to liberate his mind through automatic exercises; but by mastering and playing with the narrative he succeeded in freeing himself from the constraints of mimeticism descend[ing] into the diabolical nirvana of dada."
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First published anonymously in France in 1928, Le Con d'Irene, is the last 'lost' masterpiece of Surrealist erotica. Likes Georges Bataille's Story of the Eye (published the same year), Irene's Cunt is an intensely poetic account, the story of a man's torment when he becomes fixated upon the genitalia of an imaginary woman and is reduced to voyeuristically scoping 'her' erotic encounters. In between describing various events in brothels and other sexual adventures, Louis Aragon charts an inner monologue which is often reminiscent, in its poetic/ surreal intensity, of the work of Lautreamont, and of Artaud in its evocation of physical disgust as the dark correlative to spiritual illumination.
This new edition features an exceptional and completely unexpurgated translation by Alexis Lykiard (translator of Lautreamont's Maldoror and Apollinaire's Les Onze Mille Verges), and includes complete annotation and an illuminating introduction.
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classic surrealist novel, tr Jo Levy
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