“Legend” — Dorothea Tanning

“Legend”

by

Dorothea Tanning

From Surrealist Women: An International Anthology (ed. Penelope Rosemont). “Legend” first appeared in Max Ernst’s At Eye Level and Paramyths, the catalog of the “Max Ernst: 30 Years of His Work” exhibition in Beverly Hills in 1949.


A young sinner grew weary of Olympus. He went to the head of the stairs where the three graces sat knitting sweaters for their earthly sons. (Winter was at hand.) Each of them smiled secretly at the young sinner, each believing she was the only one whom he had provided with pleasant memories. But they wouldn’t let him pass.

“It’s a cruel place,” said one. “How will you nourish yourself?”

“On destinies,” he answered promptly. “Take the laughter of seven maidens, stir in several of the moonbeams that fall across their beds. Add the head of a procession, a few umbrella ribs and a tale of hilarious crime. Season it madly and serve on collection plates.”

“But,” said another, barring the way, “Where will you go?”

“To picnics,” said he, making a perfect triple pirouette.

The third grace laid her knitting in her lap where it formed a pretty, medium-sized figleaf. She turned her eyes up to him and said softly, “What will you do?”

She looked so charming that for a moment the young sinner hesitated. Perhaps he wouldn’t go after all. But he recovered himself and said:

“Please be advised that I will vaccinate the world with a desire for violent and perpetual astonishment. Disguised in my own presence, I will conduct a horde through the five aqueducts of knowledge, after which their guardians will ask the authorities for replacements. I will provoke prodigies. When I have built the torpid town, certain words will fall into disuse: eminent prominent peerless noble honorable lordly stately august princely majestic sacred and sublime. I will make rhapsodies from grains of sleep. I’ll wrap up a manmaking hat and drop it in the mailbox. I’ll hold a revolver up to nature. When professional critics lose themselves in the swamp I’ll arrange a delegation of chimeras with their own language and their own secrets. As for the night, I will discover all its phases. And I will fall in love.”

The three graces had been looking rather sleepy; but at the last words they opened their mouths in horror, then picked up their knitting and fled.

With his glittering blue eyes the young sinner sent lightning strokes after them—a parting gift. Then he ran down the steps, two at a time.

Saint Valentine — Jean Hugo

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Saint Valentine, 1930 by Jean Hugo (1894-1984)

American Flamingo (Detail) — John James Audubon

American Flamingo (detail), 1838 by John James Audubon (1785-1851)

Un Ballo in Maschera — George Tooker

Un Ballo in Maschera (A Masked Ball), 1983 by George Tooker (1920-2011)

Self Portrait — Dirck Helmbreker

Self Portrait, 1650 by Dirck Helmbreker (1633-1696)

Castigo francés — Francisco Goya

Castigo francés (French punishment), Notebook G.48 (c. 1824-1828) by Francisco Goya (1746-1828)

Curse a fair February | Polly Mudge

February, from the Apiary Almanac, 1960 by Polly Mudge (1938-1976)

Groundhog Day — Andrew Wyeth

Groundhog Day, 1959 by Andrew Wyeth (1917-2009)

February — Alex Colville

February, 1979 by Alex Colville (1920-2013)

February — Cornelis Dusart

February, c. 1680s by Cornelis Dusart, 1660-1704

February – Evelyn Dunbar

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February, 1938 by Evelyn Dunbar (1906-1960)

Hotel Service — Eric Fischl

Hotel Service, 2023 by Eric Fischl (b. 1948)

Lucrecia Smoking — Lucía Maya

Lucrecia fumando (Lucrecia Smoking), 1990 by Lucía Maya (b. 1953)

 

Mass-market Monday | J.G. Ballard’s Billenium

Billenium, J.G. Ballard. Berkley Medallion Books (1962). No cover designer or artist credited. 159 pages.

ISFDB credits Richard Powers as the cover artist.

Ten years ago I read The Complete Short Stories of J.G. Ballard and wrote about them on this blog. At the end of the (exhausting) project (about 1200 pages and just under 100 stories), I made a shortlist of 23 “essential” J.G. Ballard short stories. I included two of the ten stories from Billenium in that list: the title track “Billenium” and “Chronopolis.” Of the latter, I wrote:

“Chronopolis” offers an interesting central shtick: Clocks and other means of measuring and standardizing time have been banned. But this isn’t what makes the story stick. No, Ballard apparently tips his hand early, revealing why measuring time has been banned—it allows management to control labor:

‘Isn’t it obvious? You can time him, know exactly how long it takes him to do something.’ ‘Well?’ ‘Then you can make him do it faster.’

But our intrepid young protagonist (Conrad, his loaded name is), hardly satisfied with this answer, sneaks off to the city of the past, the titular chronopolis, where he works to restore the timepieces of the past. “Chronopolis” depicts a technologically-regressive world that Ballard will  explore in greater depth with his novel The Drowned World, but the details here are precise and fascinating (if perhaps ultimately unconvincing if we try to apply them as any kind of diagnosis for our own metered age). Ending on a perfect paranoid note, Ballard borrows just a dab of Poe here, synthesizing his influence into something far more original, far more Ballardian. Let’s include it in something I’m calling The Essential Short Stories of J.G. Ballard.

Terrible Disaster — Gabriel Fernández Ledesma

Terrible siniestro (Terrible Disaster), 1928 by Gabriel Fernández Ledesma (1900-1983)

Flora (Detail) — Circle of Giuseppe Arcimboldo

Flora (detail), c. 1590-1600, attributed to the circle of Giuseppe Arcimboldo

 

Untitled (King) — Ho Che Anderson

Untitled (from King), 1993/2005, by Ho Che Anderson (b. 1969)