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Walter Benjamin in his 1929 essay "Surrealism: The Last Snapshot of the European Intelligentsia" regarded the supernatural dimension of Parisian surrealism with suspicion: as a "profane" distraction ...from its more politically engaged aesthetics. Commenting on Andre Breton's obsession with the "telepathic girl" of Nadja, Benjamin opined, "the most passionate investigation of telepathic phenomena ... will not teach us half as much about reading (which is an eminently telepathic process), as the profane illumination of reading about telepathic phenomena." A second generation of feminist surrealists, however, propeled the movement toward revisionary "illumination" precisely through a deeper engagement with the occult. Coming after Breton's Parisian circle of the 1920s, Mina Loy, Leonora Carrington, and Ithell Colquhoun from the 1930s onward mined the resources of fin de siecle precognition, telepathy, clairvoyance, spiritual alchemy, and sex magic: opening surrealism to a posthuman biopolitics of community, embodiment, and deep ecology that is yet to come.
Samuel Beckett, then a largely unknown member of the Joyce circle, translated a selection of texts for a surrealist special issue of the Parisian journal This Quarter in 1932. Among them were three ...excerpts from André Breton and Paul Éluard's L'Immaculée Conception in which the authors, using automatism, simulated the verbal styles of various forms of mental illness. This essay argues that, despite an ambivalent attitude to surrealism as a movement, these translations are a key source for Beckett's interest in the irrational and in verbal deviance, and are in fact precursors to the anomalous, self-engrossed "outsider artists" of Beckett's mature work.
