Editing Surrealism (section)

===Postmodernism and popular culture===
Many significant literary movements in the later half of the 20th century were directly or indirectly influenced by Surrealism. This period is known as the [[Postmodern]] era; though there is no widely agreed upon central definition of [[Postmodernism]], many themes and techniques commonly identified as Postmodern are nearly identical to Surrealism.

First Papers of Surrealism presented the fathers of surrealism in an exhibition that represented the leading monumental step of the avant-gardes towards installation art.<ref>Demos, T. J. "Duchamp's Labyrinth: "First Papers of Surrealism", 1942." October 97 (2001): 91–119. Accessed March 16, 2021. {{doi|10.2307/779088}}.</ref>  Many writers from and associated with the [[Beat Generation]] were influenced greatly by Surrealists. [[Philip Lamantia]]<ref>Dana Gioia. ''California poetry: from the Gold Rush to the present''.Heyday Books, 2004.{{ISBN|1-890771-72-4}}, {{ISBN|978-1-890771-72-0}}. pg. 154.</ref> and [[Ted Joans]]<ref>Franklin Rosemont, Robin D. G. Kelley. ''Black, Brown, & Beige: Surrealist Writings from Africa and the Diaspora''. University of Texas Press, 2009. {{ISBN|0-292-71997-3}}, {{ISBN|978-0-292-71997-2}}. og. 219–222.</ref> are often categorized as both Beat and Surrealist writers. Many other Beat writers show significant evidence of Surrealist influence. A few examples include [[Bob Kaufman]],<ref>Rosemont, pg. 222–226</ref><ref>Bob Kaufman. ''Cranial Guitar''. Coffee House Press, 1996. {{ISBN|1-56689-038-1}}, {{ISBN|978-1-56689-038-0}}. pg. 28.</ref> [[Gregory Corso]],<ref>Kirby Olson. ''Gregory Corso: doubting Thomist''. SIU Press, 2002. {{ISBN|0-8093-2447-4}}, {{ISBN|978-0-8093-2447-7}}. pg. 75–79.</ref> [[Allen Ginsberg]],<ref>Allen Ginsberg, Lewis Hyde. ''On the poetry of Allen Ginsberg''. University of Michigan Press, 1984. {{ISBN|0-472-06353-7}}, {{ISBN|978-0-472-06353-6}}. pg. 277–278.</ref> and [[Lawrence Ferlinghetti]].<ref>Dave Meltzer. ''San Francisco beat: talking with the poets''. City Lights Books, 2001. {{ISBN|0-87286-379-4}}, {{ISBN|978-0-87286-379-8}}. pg. 82–83.</ref> Artaud in particular was very influential to many of the Beats, but especially Ginsberg and [[Carl Solomon]].<ref>Miles, Barry. Ginsberg: A Biography. London: Virgin Publishing Ltd. (2001), paperback, 628 pages, {{ISBN|0-7535-0486-3}}. pg. 12, 239</ref>  Ginsberg cites Artaud's "Van Gogh – The Man Suicided by Society" as a direct influence on "[[Howl (poem)|Howl]]",<ref>Allen Ginsberg. "Howl: Original Draft Facsimile, Transcript & Variant Versions, Fully Annotated by Author, with Contemporaneous Correspondence, Account of First Public Reading, Legal Skirmishes, Precursor Texts & Bibliography." Ed. Barry Miles. Harper Perennial, 1995. {{ISBN|0-06-092611-2}}. pg. 184.</ref> along with Apollinaire's "Zone",<ref>Ginsberg, pg. 180</ref>  García Lorca's "Ode to Walt Whitman",<ref>pg. 185.</ref> and Schwitters' "Priimiititiii".<ref>Ginsberg, pg. 182.</ref> The structure of Breton's "Free Union" had a significant influence on Ginsberg's "Kaddish".<ref>Miles, pg. 233.</ref>  In Paris, Ginsberg and Corso met their heroes Tristan Tzara, Marcel Duchamp, Man Ray, and Benjamin Péret, and to show their admiration Ginsberg kissed Duchamp's feet and Corso cut off Duchamp's tie.<ref>Miles, pg. 242.</ref>

[[William S. Burroughs]], a core member of the Beat Generation and a postmodern novelist, developed the [[cut-up technique]] with former surrealist [[Brion Gysin]]—in which chance is used to dictate the composition of a text from words cut out of other sources—referring to it as the "Surrealist Lark" and recognizing its debt to the techniques of Tristan Tzara.<ref>William S. Burroughs, James Grauerholz, Ira Silverberg. ''Word Virus: The William S. Burroughs Reader''.Grove Press, 2000. 080213694X, 9780802136947. pg. 119, 254.</ref>

Postmodern novelist [[Thomas Pynchon]], who was also influenced by Beat fiction, experimented since the 1960s with the surrealist idea of startling juxtapositions; commenting on the "necessity of managing this procedure with some degree of care and skill", he added that "any old combination of details will not do. Spike Jones Jr., whose father's orchestral recordings had a deep and indelible effect on me as a child, said once in an interview, 'One of the things that people don't realize about Dad's kind of music is, when you replace a C-sharp with a gunshot, it has to be a C-sharp gunshot or it sounds awful.'"<ref name="PynchonSurralism">[[Thomas Pynchon]] (1984) ''[[Slow Learner]]'', p.20</ref>

Many other postmodern fiction writers have been directly influenced by Surrealism.  [[Paul Auster]], for example, has translated Surrealist poetry and said the Surrealists were "a real discovery" for him.<ref>Paul Auster. ''Collected prose: autobiographical writings, true stories, critical essays, prefaces and collaborations with artists''. Macmillan, 2005 {{ISBN|0-312-42468-X}}, 9780312424688. pg. 457.</ref>  [[Salman Rushdie]], when called a Magical Realist, said he saw his work instead "allied to surrealism".<ref>Catherine Cundy. ''Salman Rushdie''. Manchester University Press ND, 1996.{{ISBN|0-7190-4409-X}}, 9780719044090. pg. 98.</ref><ref>Salman Rushdie, Michael Reder. ''Conversations with Salman Rushdie''. Univ. Press of Mississippi, 2000. {{ISBN|1-57806-185-7}}, {{ISBN|978-1-57806-185-3}}. pg. 111, 150</ref> [[David Lynch]] regarded as a surrealist filmmaker being quoted, "David Lynch has once again risen to the spotlight as a champion of surrealism,"<ref>{{Cite web|url=http://facets.org/blog/exclusive/watch/essays/david-lynch-and-surrealism-deconstruction-of-the-lynchian-label/|title=David Lynch and Surrealism: Deconstruction of the 'Lynchian' Label|date=2017-09-02|website=Facets Features|language=en-US|access-date=2020-03-22|archive-date=2020-03-22|archive-url=https://web.archive.org/web/20200322230627/http://facets.org/blog/exclusive/watch/essays/david-lynch-and-surrealism-deconstruction-of-the-lynchian-label/|url-status=dead}}</ref> in regard to his show ''[[Twin Peaks]]''. For the work of other postmodernists, such as [[Donald Barthelme]]<ref>[[Philip Nel]]. ''The Avant-Garde and American Postmodernity: Small Incisive Shocks''. Univ. Press of Mississippi, 2009. 1604732520, 9781604732528. pg. 73–74.</ref> and [[Robert Coover]],<ref>Brian Evenson. ''Understanding Robert Coover''. Univ of South Carolina Press, 2003. {{ISBN|1-57003-482-6}}, {{ISBN|978-1-57003-482-4}}. pg. 4</ref> a broad comparison to Surrealism is common.

[[Magic realism]], a popular technique among novelists of the latter half of the 20th century especially among Latin American writers, has some obvious similarities to Surrealism with its juxtaposition of the normal and the dream-like, as in the work of [[Gabriel García Márquez]].<ref>McMurray, George R. "Gabriel García Márquez." Gabriel García Márquez. Ungar, 1977. Rpt. in ''Contemporary Literary Criticism''. Ed. Jean C. Stine and Bridget Broderick. Vol. 27. Detroit: Gale Research, 1984. Literature Resources from Gale. Web. 2 September 2010.</ref>  [[Carlos Fuentes]] was inspired by the revolutionary voice in Surrealist poetry and points to inspiration Breton and Artaud found in Fuentes' homeland, Mexico.<ref>Maarten van Delden. ''Carlos Fuentes, Mexico, and Modernity''. Vanderbilt University Press, 1999.{{ISBN|0-8265-1345-X}}, 9780826513458. pg. 55, 90.</ref>  Though Surrealism was a direct influence on Magic Realism in its early stages, many Magic Realist writers and critics, such as Amaryll Chanady<ref>Maggie Ann Bowers. ''Magic(al) realism''. Routledge, 2004. {{ISBN|0-415-26853-2}}, {{ISBN|978-0-415-26853-0}}. pg. 23–25.</ref> and S. P. Ganguly,<ref>Shannin Schroeder. Rediscovering magical realism in the Americas. Greenwood Publishing Group, 2004. {{ISBN|0-275-98049-9}}, {{ISBN|978-0-275-98049-8}}. pg. 7.</ref> while acknowledging the similarities, cite the many differences obscured by the direct comparison of Magic Realism and Surrealism such as an interest in psychology and the artefacts of European culture they claim is not present in Magic Realism.  A prominent example of a Magic Realist writer who points to Surrealism as an early influence is [[Alejo Carpentier]] who also later criticized Surrealism's delineation between real and unreal as not representing the true South American experience.<ref>Navarro, Gabriel. ''Musica y escrita en Alejo Carpentier'' Alicante: Universidad de Alicante. 1999. {{ISBN|84-7908-476-6}}. pg. 62</ref><ref>Emory Elliott, Cathy N. Davidson. ''The Columbia history of the American novel''. Columbia University Press, 1991. {{ISBN|0-231-07360-7}}, {{ISBN|978-0-231-07360-8}}. pg. 524.</ref>