Editing Surrealism (section)

===Surrealist literature===
{{See also|List of Surrealist poets}}
The first Surrealist work, according to leader Breton, was ''[[Les Chants de Maldoror]]'',<ref>Brêton, André. ''Communicating Vessels''. Trans. Mary Ann Caws & Geoffrey T. Harris. London & Lincoln: U of Nebraska Press/Bison Books, 1990.</ref> and the first work written and published by his group of ''Surréalistes'' was ''[[Les Champs Magnétiques]]'' (May–June 1919).<ref>Breton, André. Les Vases communicants. Paris: Gallimard, 1955.</ref> ''Littérature'' contained automatist works and accounts of dreams. The magazine and the portfolio both showed their disdain for literal meanings given to objects and focused rather on the undertones; the poetic undercurrents present. Not only did they give emphasis to the poetic undercurrents, but also to the connotations and the overtones which "exist in ambiguous relationships to the visual images."<ref>Vaneigem, Raoul. A Cavalier History of Surrealism. Trans. Donald Nicholson-Smith. Oakland: AK Press, 2000.</ref>

Because Surrealist writers seldom, if ever, appear to organize their thoughts and the images they present, some people find much of their work difficult to parse. This notion however is a superficial comprehension, prompted no doubt by Breton's initial emphasis on automatic writing as the main route toward a higher reality. But—as in Breton's case—much of what is presented as purely automatic is actually edited and very "thought out". Breton himself later admitted that automatic writing's centrality had been overstated, and other elements were introduced, especially as the growing involvement of visual artists in the movement forced the issue, since automatic painting required a rather more strenuous set of approaches. Thus, such elements as collage were introduced, arising partly from an ideal of startling juxtapositions as revealed in [[Pierre Reverdy]]'s poetry. And—as in Magritte's case (where there is no obvious recourse to either automatic techniques or collage)—the very notion of convulsive joining became a tool for revelation in and of itself. Surrealism was meant to be always in flux—to be more modern than modern—and so it was natural there should be a rapid shuffling of the philosophy as new challenges arose. Artists such as Max Ernst and his surrealist collages demonstrate this shift to a more modern art form that also comments on society.<ref>{{Cite web|last=DANAE|date=2020-01-13|title=Digital Montage: On Collage and the Legacy of Modernism|url=https://medium.com/digital-art-weekly/digital-montage-on-collage-and-the-legacy-of-modernism-ac9043247c61|access-date=2021-02-24|website=Medium|language=en}}</ref>

Surrealists revived interest in Isidore Ducasse, known by his pseudonym [[Comte de Lautréamont]], and for the line "beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella", and [[Arthur Rimbaud]], two late 19th-century writers believed to be the precursors of Surrealism.

Examples of Surrealist literature are Artaud's ''Le Pèse-Nerfs'' (1926), Aragon's ''[[Irene's Cunt]]'' (1927), Péret's ''Death to the Pigs'' (1929), Crevel's ''Mr. Knife Miss Fork'' (1931), [[Sadegh Hedayat]]'s ''[[The Blind Owl]]'' (1937), and Breton's ''Sur la route de San Romano'' (1948).

''[[La Révolution surréaliste]]'' continued publication into 1929 with most pages densely packed with columns of text, but which also included reproductions of art, among them works by de Chirico, Ernst, Masson, and Man Ray. Other works included books, poems, pamphlets, automatic texts and theoretical tracts.