Surrealism

The Dada private road had been meaning(a) during and after the war, and these new poets and artists would transform the dying Dada movement into Surrealism, taking what they valued from the earlier movement and moving the totally toward a somewhat different mode of reflection (Rubin 60-61).

Surrealism in literature was a revolution against all kinds of formal literary expression, an attempt to turn away from all previous literary movements and to achieve a new freedom without formal rules. This is what the writers of the date believed artists were achieving, and they applied this idea consciously to their work in set to produce a surrealist literature. They were exclusively partially successful, and many of those who were or so dedicated to this movement were not the most gifted writers of the magazine:

One cannot take AndrT Breton, the chief surrealist, at times a veritable Stalin with his purges, wholly seriously as a inventive writer; his confusions require to be studied; he is a symptom of twentieth-century unease. . . For the truly gifted writers, on the other hand, surrealism provided a new beginning, a break with conventions; they went on to new pastures (Seymour-Smith 467).

Neruda fits this decease statement, a poet who used surrealism as a beginning maneuver for a new mode of expression. Surrealism was for him a point on a continuum, a style that developed from his earlier interests and that would prevail way to a different mode of expression in his later ye

Much of Neruda's poem presents a sense of conflict between Latin the States and the north, a conflict that is more ethnic than regional or even ideological. It is a conflict that Neruda sees as beginning with the glide slope of the European to the New World. In discussing Neruda's poetry, Gordon Brotherston notes the divisiveness between Latin and Saxon American as well as a divergence between Latin and Indian America. Brotherston sees Neruda as attempting to be an American poet and sometimes a Latin American poet. This is evident in his epic work Canto general, and in one section he refers to the American Veteran of World War II:

[He returns home] only to find it plagued with unwelcome guests: racists, all powerful capitalists, inquisitors into "un-American activities.

" but very soon he is warning North Americans as a whole not to try to spread their imperium further. . . because they will be implacably resisted at every step. . . (Brotherston 50).

In this channel between the two worlds, Neruda is extending his phantasmagoric sense of differing worlds occupying the same shoes and creating a conflict that is often more internal than external. Indeed, the surrealistic element in modern poetry is often an expression of the tensions of poetry itself, of the need to perceive the world and shape it through and through language, and the world perceived is both real and dream, realism and surrealism. Neruda feature his own background, the concepts of surrealist poetry, and his immediate experiences in the Far East in his increasingly surrealistic poetry in the 1920s. Many of the poems in Residence were written while the poet was residing in Rangoon, and arguably it is his retentiveness of and longing for Chile that contributes to his sense of loneliness and to his move into the dream-like elements of surrealism. Critics abide noted a real difference in these poems from what Neruda wrote to begin with and what he would write after:

York: Museum of Modern Art, 1968.

Wright, Jame
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