Emerald Wounds, livre ebook

Rediscover Joyce Mansour, the most significant Surrealist poet to emerge from 1950s Paris.

“You know very well, Joyce, that you are for me—and very objectively too—the greatest poet of our time. Surrealist poetry, that’s you.”—André Breton 

Joyce Mansour, a Syrian Jewish exile from Egypt, was 25 years old when she published her first book in Paris in 1953. Her fierce, macabre, erotically charged works caught the eye of André Breton, who welcomed her into his Surrealist group and became her lifelong friend and ally. Despite her success in surrealist circles, her books received scant attention from the literary establishment, which is hardly surprising since Mansour's favorite topics happened to be two of society's greatest fears: death and unfettered female desire.

Now, over half a century later, Mansour's time has come. Emerald Wounds collects her most important work, spanning the entire arc of her career, from the gothic, minimalist fragments of her first published work to the serpentine power of her poems of the 1980s. In fresh new translations, Mansour's voice surges forth uncensored and raw, communicating the frustrations, anger, and sadness of an intelligent, worldly woman who defies the constraints and oppression of a male-dominated society. Mansour is a poet the world needs today.Translating Desire: The Erotic-Macabre Poetry of Joyce Mansour Introduction by Emilie Moorhouse   In 1966, the first English-language account of the desire-filled, erotic-macabre poems of cigar-smoking Egyptian surrealist Joyce Mansour appeared, perhaps fittingly, in the section of the journal Books Abroad called “Not in the Reviews.” In this article, “The Poetry of Joyce Mansour,” pioneering British scholar of surrealism J. H. Matthews laments Mansour’s lack of recognition from literary critics who seemed intent on ignoring her. Even today, a half-century later, Joyce Mansour’s work remains underappreciated in France and virtually unknown in the rest of the world. Given the entrenched sexism of literary circles, the fact that a woman’s shameless and provocative writing on sex and death—what Matthews terms her “cries of uninhibited desire”—has been shunned by the literary establishment for so long is hardly a surprise. In the fall of 2017, I was looking for poems in preparation for a literary translation workshop. A few days after I began my search, the #MeToo movement went viral, putting a new spotlight on sexism and the abuse of power in our cultural industries. What I found most striking among the ugly stories of assault, harassment, silencing, and coercion that were breaking on a daily basis was the extent to which our culture continually dismisses and denies the needs and desires of women, while centering the importance of male desire in so many narratives. I set new parameters on my search: I decided I needed to translate the writing of a woman who spoke openly and shamelessly about her desires. I knew that, as I looked further back in time, almost any woman who spoke her truth was likely to have been ignored, forgotten, dismissed, or worse. After all, if so many prominent women were experiencing abuse and silencing in 2017, how many prior works of art by women were relegated to the dark corners of history? Without a doubt, there were works that had been shelved and forgotten for the sole reason that they had been held to different standards than those written by men; women’s writing has often been judged as “too much”: too sultry, too frigid, too hysterical. If the pre-2017 world had not been ready for these voices, perhaps we had finally reached a moment where our culture could embrace them.    France, of course, has experienced periods of exceptional openness in publishing that benefited women writers; French-Canadian poet Anne Hébert, for example, moved to Paris in 1954 when her work was considered too dark for the same Canadian publishers who embraced Leonard Cohen’s brooding poetry only a few years later. Yet French culture also remained fiercely loyal to its romanticized ideas of female submission and male domination. This dichotomy meant that, while certain controversial literary female authors were indeed published—such as Renée Vivien, an openly lesbian British poet who wrote passionate love poems in French at the turn of the 20th century—women’s voices were still subjugated or eclipsed by those of men. Such was the perceived misogyny of France’s highest literary award, le Prix Goncourt, that in 1904, a year after its creation, 22 literary women launched an alternate prize, le Prix Femina, awarded by an all-female jury. To this day, the jury for the Prix Goncourt hasn’t taken the hint: A mere 12 women have received the prize since it was created. It was in this context that I came across the poems of Joyce Mansour, born Joyce Patricia Adès (1928–1986). Her work is defiant; even by today’s standards, it smashes taboos around female expression and desire. Like her poetry, Mansour’s life is fascinating. Born in England in 1928, she was raised in Cairo in a wealthy, cosmopolitan family of Jewish-Syrian descent. Early on, she experienced two tragedies that would haunt the rest of her life: When she was 15, her mother died of cancer. The teenager was deeply affected by this loss; although surrounded by a loving father and siblings, she was inconsolable. As an escape from her grief, she immersed herself in the world of sports, where she excelled at the long jump and sprinting. As she began to slowly find meaning in her life again, she met and fell in love with a young athletic man, Henri Naggar. The two formed a perfect couple who seemed to have everything life could offer: youth, good looks, and wealthy families. They could only have a bright future ahead and were married when she was 18 and he 21. But only six months after their wedding, following a long honeymoon during which they traveled through Europe, Naggar died very suddenly of cancer. This second loss was almost too much for her to bear. She locked herself away and refused to see anyone, including her father, and suffered from night terrors and sleepwalking. She cut herself off from her friends, accepting only the company of her sister-in-law, whom she stayed with. It was during this time she began composing poetry. Plunged into a deep depression, she turned to poetry as a way to cope and “remove the blood from [her] dreams.” Her very first lines were “Improvised poems in the bathtub. Alone, she would talk, scream as though to cover the sound of the water. It was a kind of revolt.” Mansour’s earliest poems were composed in English, and she later described them as “Crazed with rage . . . exclusively insults . . . In fact, no one has ever seen them.” Indeed, none of these poems have ever been found. As such origins suggest, Mansour’s poetry lies at the opposite end of the spectrum from the concept of art for art’s sake. For her, aestheticism in poetry expresses nothing. She described poetry as “a scream,” illustrating her assertion with the following anecdote: “I went to the cemetery for a Muslim funeral. Suddenly a woman started to scream. The scream began, at first very deep, in the belly and became more and more shrill, deafening; it seemed to come from the top of the skull, you know, the fontanel, from which religions often say that the soul escapes at the moment of death. It’s terrifying. That is poetry. I write between two doors, all of a sudden, like that woman who started to scream.” Her work became a kind of exorcism for the pain that came from the unbearable early loss of these two first loves. Years later, when asked why she did not have the violent character of her poetry, she answered: “If I did not write, perhaps I would embody my words. It’s a kind of conjuration . . .” Mansour remained very private about her life and mostly refused to publish poems that were too directly autobiographical, such as the following one on her mother:    Since yesterday you are dead my mother Deliver me from your sufferingYou are frozen with dread under your glass mask Deliver me from your maternal kisses That crawl on my kneeling body Like slugs For my eyes are stuck in the swamps of desire Deliver me from your heavy shadow My silted ovaries suffocate between your hands Deliver me from your absence Deliver me from the rain    Autobiographical elements in the poems she did publish were much more encrypted, with the crab often representing the cancer that had ended her mother’s life:    The crabs were fighting over your flesh Nothing remained of your chubby breasts.    In Mansour’s work, love and death are inseparable. Rather than running from the dual traumas of her youth, she explored them, writing toward the demons that haunted her. A native English speaker, Mansour switched to writing in French when she met and married her second husband, Samir Mansour, a handsome and athletic Franco-Egyptian who was almost twice her age and of whom her family disapproved, due to his reputation as a womanizer. “I met a man who refused to speak anything other than French. So I dropped English and I started reading, writing, and trying to think in French. I started a new life with new thoughts. When I re-read the things I had written in English, it had nothing to do with anything, as though someone else had arrived at that moment.” With a new husband, a new language, and a new life, Joyce Mansour tried to rid herself of the pain that was too much for her to bear. She never spoke of her first husband with Samir. The couple divided their life between Egypt and Europe, with properties in Cairo, Paris, and Alexandria, at the edge of the desert. “We would crisscross the desert in a Jeep, looking for archeological sites. We would sleep outdoors. We would divide the tasks.” Through this newfound love, Mansour seemed to have escaped the worst of her despair. The Mansours led a worldly life in Cairo, occasionally attending extravagant receptions hosted by Egypt’s ruler, King Farouk. They also mixed with the diplomatic and business communities of the city. Joyce Mansour first encountered surrealism through a close friend of her husband, Marie Cavadia, who hosted the most important salon in Cairo and was a longtime patron of the Egyptian parasurrealist group “Art and Liberty,” founded in 1939 by Georges Henein, Ramses Younane, and Fouad Kamel. At Cavadia’s salon, circa 1950, Mansour met Henein, who had recently broken with the French surrealist group, which was struggling to maintain its pre-war vigor. Over the years, Mansour would meet many significant artists and writers at the salon, including the novelist André Pieyre de Mandiargue and the science journalist Gérald Messadié, both of whom encouraged her to publish her work. In Paris, Mansour found her most decisive ally for publishing her work through the visual artist George Hugnet, a veteran of both Paris dada and surrealism who had just published his own book with Editions Seghers. She sent him a thick manuscript from which he helped her select the poems for her first book, Cris (Screams). Many poems from the same manuscript would eventually be published in Dechirures (Shreds). Hugnet sent the manuscript to Pierre Berger, an editor for the surrealist-friendly publisher Pierre Seghers. “The coincidence of a common friend allowed me to come across Joyce Mansour’s manuscript,” Berger recalled. “On the first page there were four letters: Cris (Screams). From the very first poems, I understood their brutal meaning, and I saw the revolt hidden in their brevity. The screams of the poet hit me like surprising fist punches. They expressed the pathos of unusual days. . . I showed them to Pierre Seghers and Raymond Queneau. The enthusiasm I hoped for came from Pierre Seghers. Screams took its spot in the P.S. collection. As for Queneau, he never gave an answer.” Screams appeared in December 1953, when Mansour, aged 25, was still living in Cairo. The collection of short poems was the most talked about publication in Egyptian literary circles, yet it was met with mixed reviews. Her friends indicated surprise, timidly acknowledging the originality of her voice, but expressing uneasiness about the content. Her friends hoped that Mansour’s somewhat bothersome poetic furor might be quieted. Mansour found herself isolated; “My father begged, ‘Why don’t you write about the bees and the flowers, instead of things like that?’ and others would say, ‘She’s crazy. It’s not even worth talking about.’” “‘Screaming’ is not the best way to make yourself heard,” wrote another critic. French poet Alain Bosquet wrote derisively in Combat: “Joyce Mansour, Egyptian and Lady of the high society, annexes necrophilia to poetry with extreme ease. The old boys will drool with joy. . . Don’t give her access to the morgue: she’ll wake the corpses.” This last review, however, attracted André Breton’s attention. In February of ’54, Mansour sent him her book with a small dedication: “To Mr. André Breton, a few ‘screams’ as a tribute.” André Breton responded, “I love, Madam, the scent of dark, ultra dark, orchids in your poems.” These are some of the first words of praise and encouragement that Mansour received for her work. The French surrealists immediately embraced her as one of their own. Jean-Louis Bédouin declared Screams the poetic event of 1954 and reviewed her work in the May issue of the surrealist review Medium: “There is nothing here that doesn’t spill from the darkest depths of the soul, where love and death, distress and desire, pleasure and suffering fuse into a single all-consuming reality that consumes itself through the object of its own desire. . . It is essential in a time of pin-ups and cover-girls, in a time of learned ignorance about true human needs, that a woman reminds us that love is a tragic experience, vital, like hunger, and femininity is a force to be reckoned with, capable of violence and cruelty as well as tenderness and joy.” While Mansour was still living in Cairo when her first book of poems was published, circumstances in Egypt would rapidly change, sending her and her entire family into permanent exile. In 1954, in the wake of the Egyptian Revolution of 1952 against King Farouk, and the establishment of the Republic of Egypt the following year, Gamal Abdel Nasser came to power. Shortly thereafter, his government seized most of her family’s assets, including Mansour’s childhood home, which now houses the Greek embassy in Cairo. Her father and brother were imprisoned by the government for several months and moved to Switzerland after their release. Joyce and her husband moved permanently to their home in Paris, never to set foot in Egypt again. In Paris, Mansour grew more deeply involved with the Surrealists, becoming an intimate friend of André Breton, who became the greatest champion of her work. The two spent almost every afternoon together. She would visit him at his atelier at 42 Rue Fontaine or they would go browsing flea markets, hunting for the uncanny objects of which they were both collectors. They grew so close that she was rumored to be his last great love. While the two were never lovers, their friendship was one of mutual admiration, “fraternal and infinite” as she would describe it. In an interview with Le Monde in 1962, Breton declared Mansour one of the three most important surrealist poets to emerge in the past 20 years, along with Jean-Pierre Duprey and Malcolm de Chazal. He never missed an opportunity to promote the work of this “female poet.” While Breton could be difficult to get along with, and frequently fell out with many in the surrealist movement, Mansour stayed out of such disputes. Indeed, she worked to mend many of the friendships Breton famously broke off, successfully orchestrating reconciliations, including several between Breton and Alain Jouffroy, a major postwar surrealist poet and theorist. Most significantly, Mansour oversaw the readmittance to Breton’s group of the painter Roberto Matta, hosting at her Paris apartment the infamous 1959 performance piece Exécution du Testament du Marquis de Sade, during which Canadian artist Jean Benoît branded himself with an iron spelling out SADE. Taking up Benoît’s challenge—“Who’s next?”—Matta “rushed up, tore open his shirt, and seared his own left breast,” a dramatic gesture earning him reinstatement into the group. Breton and Mansour would remain intimate friends until his death in 1966. She dedicated several pieces to him, including the poetry collections Carré Blanc (1966) and Les Damnations (1967).    Translation requires re-inhabiting the original process of creation. It asks for an intimate reading, as though one is slipping on a piece of clothing the author might have worn. Mansour’s poetry is both a challenge and a pleasure to translate. Her words are heavy with emotion as she tests us with constant provocations and inversions of traditional narratives and beliefs. Our accepted logic dictates that what is dead rots, but she uses phrases like “all that is alive rots”; in another poem (“Worn Shadow”) she describes life as “painful for the dead.” In “Flowered Like Lewdness,” the objectifying gaze of an unidentified man clashes with Mansour’s morbid version of the feminine. For him women are “canons of delirium,” to which the speaker replies that she only “savor(s) death.” In “Nursery Rhyme for a Courtesan,” magnolias, normally a symbol of beauty, femininity, and purity, become “cannibalistic.” Beauty is repulsive, orgasm is death, death is life, and fantasies, like women, become all too real. Mansour took some of her inspiration from ancient religions and traditions, including Ancient Egypt, where death is not considered to be the end of life, but rather a transition to another reality. A great deal of Mansour’s work centers around female figures in religion, such as Mary, Lilith, or Miriam. Several of her poems, including the untitled one below, evoke the Egyptian goddess of the sky, Nut, whose naked body was covered with stars and was arched protectively over her husband, Geb, the earth god. Nut swallowed the sun god Ra in the evening and gave birth to him each morning.   A woman created the sun                                                 Inside her                                                And her hands were beautiful                                                 The earth plunged beneath her feet                                                 Assailing her with the fertile breath                                                Of volcanoes                                                  Her nostrils quivered her eyelids drooped                                                  Weighed down by the heavy silt of the pillow It is night And the calm wound where the breathless void dies Strikes, struggles, opens and quietly closes on the swaying wand of Noah the explorer.    It’s not difficult to see how a narrative with a goddess—rather than a god—of the cosmos inspired Mansour to imagine a richer and more complex story about life, death, and gender than what was on offer in her adoptive country of France. While her writing has strong feminist leanings, she remained independent of the movement: “I don’t know what you’re talking about,” she once responded when asked to contribute to a feminist magazine. While she was taken seriously by the Surrealists, who were mildly more progressive toward women than previous French literary movements, beyond that she received limited recognition. Even the surrealist movement, which embraced her work, was known to insist on the role of women as muse or femme-enfant, the child-woman. Meret Oppenheim, a surrealist artist who eventually distanced herself from the movement, famously said, “The (Surrealist) women were loved, but only as women.”  Mansour remained a lifelong surrealist, yet even as she maintained a certain independence from any doctrinaire form of surrealism. Her work clearly defies the confines placed on women by evoking both the creative and destructive sides of female power. Her version of femininity is authentic and complicated. It mixes irony, rage, and vulnerability while mocking the superficial ideal of women as innocent, submissive, or delicate objects of desire. In the poem “Dowsing,” Mansour uses her signature dark sense of humor to satirize articles like the “The Good House Wife’s Guide” published by Housekeeping Monthly, unleashing her anger in her advice to women experiencing the sting of neglect or betrayal in their marriage. “Husband neglecting you?” she asks. “Invite his mother to sleep in your room / . . . / piss in his soup when he lies down happily next to you[.]” Among the earliest selections from the poems in this volume, I translated two poems from her 1965 collection Carré Blanc. The title literally translates as White Square and refers to the symbol that appeared on French television to alert viewers of adult content. Mansour wrote the poems during a prolonged separation from her husband, after she had grown tired of Sam’s frequent infidelities; his betrayals caused her to re-experience the traumatic losses of her youth. The poems’ speaker moves between rage, desire, and sadness, unashamed of her frustrations and solitude. Throughout this collection she is angry and defiant: In “Woman Warrior in Love,” she promises to devour “he who would broadside me” and advises that “one must learn to wait to take revenge.” In “Sun in Capricorn” the speaker struggles with her longing in the face of an impassive interlocutor: “I can’t breathe without your mouth” and “Your hand thunders indifference.” As Alain Jouffroy said of her writing, Mansour delivers “indiscrete truths” and her absence of modesty “is a kind of feminine rebellion against the sexual despotism of man who often makes eroticism his own exclusive creation.” After Breton’s death, Mansour remained active within the Surrealist group until Breton’s successor, Jean Schuster, decided to dissolve the group in 1969 after the events of the 1968 general strike. The group felt that the movement had become sufficiently widespread in the youth culture that the meetings were no longer necessary. Furthermore, an increasing number of students had started to attend the regular meetings held at the café which made them untenable. Not all the members of the group agreed with the dissolution, and some of them continued holding meetings after the group’s dissolution, and Mansour would participate in various successor groups. Beyond that, Mansour continued to nurture close and intimate friendships and collaborations with surrealist visual artists, including Pierre Alechinsky, Enrico Baj, Jorge Camacho, Wilfredo Lam, Roberto Matta, and Pierre Molinier. Always in urgent need of intimate friendships, she also grew close with Henri Michaux (himself never a member of Breton’s group) during her separations with her husband. She continued writing poetry until her death from cancer, in 1986, at the age of 58. Mansour was known and respected within surrealist circles as André Breton championed her work, but beyond those, she was ignored. Her use of irony mixed with the erotic macabre shares similarities with the work of much more renowned French poets: She is a Baudelaire minus the shame or a Georges Bataille au feminin. And yet her books, once published by surrealist presses, are largely out of print in France. A collection of her complete works in French—which includes both short fiction and poetry collections—was published in 2014 by Michel de Maule but is increasingly difficult to find. That same year, her daughter-in-law published her biography, but it too is becoming rare. Over the years, there have been English translations of selections of her work, but most are also out of print (with the exception of a bilingual selection of poems translated by Serge Gavronsky). An excellent earlier biography, Joyce Mansour: Une étrange demoiselle (2005) by Marie-Laure Missir, fortunately remains available. Giving Joyce Mansour her rightful place in literature is no easy task. She was an immigrant in post-war France and her favorite subject matter happened to be two of society’s greatest fears: death and unfettered female desire. “Even in death I will return to this world to fornicate,” is an often-quoted statement from Mansour’s short story collection, Les Gisants Satisfaits (The Satisfied Statues). If writing for her was a conjuration of her own demons, then surely translating her words can serve to summon a spirit so keen to return from the world of the dead. There is no better time than now for Mansour to make a comeback and be given the space and recognition that her work rightly deserves.Table of Contents   Translator’s Introduction   Editorial Note   Cris (1953) / Screams   “Je te soulève dans mes bras” “I lift you in my arms” “L’amazone mangeait son dernier sein.” “The amazon was eating her last breast” “Chien bleu nez enfoncé dans la terre” “Blue dog whose nose is buried in the sand”  “Je veux me montrer nue à tes yeux chantants.” “I want to be naked in your singing eyes.” “Ton enfant dans tes bras.” “Your child in your arms” “Fièvre ton sexe est un crabe” “Fever your sex is a crab” “Une femme créait le soleil” “A woman created the sun” “Couchée sur mon lit” “Lying on my bed” “J’ai un esprit inquiet.” “I have a worried mind”“Combien d’amours ont fait crier ton lit?” “How many loves made your bed cry out?” “Coquillage qui traîne sur une plage déserte” “Seashell lying on an empty beach” “Que mes seins te provoquent” “May my breasts provoke you”   Déchirures (1955) / Shreds   “La mort est une marguerite qui dort” “Death is a daisy sleeping” “J’ai volé l’oiseau jaune” “I stole the yellow bird” “Invitez-moi à passer la nuit dans votre bouche” “Invite me to spend the night in your mouth” “Dans le monde sans verdure” “In a world without greenery” “Hurlements d’une montagne” “Shrieks from a mountain giving birth” “Je suis la nuit” “I am the night” “C’était hier:” “It was yesterday.” “La nappe rouge” “The red tablecloth” “Pleure petit homme” “Cry little man” “Danse avec moi petit violoncelle” “Dance with me, little cello” “La marée monte sous la pleine lune des aveugles.” “The tide is rising under the full moon of the blind.” “Je veux dormir avec toi coude à coude” “I want to sleep with you elbow to elbow” “L’orage tire une marge argentée” “The storm draws a silver line”   poems from BIEF (1958–1960)   Le Missel de la Miss (Bonnes Nuits) / The Missel of the Missus (Good Nights)      i) Quelques Conseils En Courant Sur Quatre Roues      i) Advice for Running on Four Wheels      ii) Il Fait Foid? Une Robe S’impose      ii) Cold Out? A Dress Is Essential      iii) Lignes Autour D’un Cercle      iii) Lines Around a Circle Genève GenevaConseils Pratiques en Attendant Practical Advice While You Wait Ce Qui Se Porte Cet Hiver What to Wear This Winter Ce Qui Ne Se Porte Pas Cet Hiver What Not to Wear This Winter Conseils d’une Consœur Advice from a Sister     Rapaces (1960) / Birds of Prey   Rhabdomancie  Dowsing Chant ArabeArab Song   Carré Blanc (1965) / White Square   I : “Où le Bas Blesse” / I: Where the Shoe Hurts Dans L’obscurité A Gauche In the Dark to the Left Leger Comme Une Navette Le Désir Light as a Shuttle Desire L’appel Amer d’un Sanglot The Bitter Call of Tears Dans Le Sillage Du Mont-Arbois In the Wake of Mont-Arbois Nuit De Veille Dans Une Cellule En Cristal De Roche Sleepless Nights in a Cell of Rock Crystal Le Soleil Dans Le Capricorne Sun in Capricorn   II : “L’Heure Erogene” / II: “The Erogenous Hour” Fleurie Comme La Luxure Flowered Like Lewdness Séance Tenante Right Away Papier D’argent Tin Foil L’Amoureuse Guerriere Woman Warrior in Love Souvenir Impose par le Nord au Sud Vaincu Memories Imposed by the North on a Conquered South Sous la Tour Centrale Under the Central Tower   III : “Verres Fumés” / III: “Smoked Glasses” L’Heure Velue The Hairy Hour La Piste du Brouillard The Path of Fog La Facade de l’Obsession The Face of Obsession Heureux les Étourdis Happy Are the Stunned Des Myriads d’Autres Morts A Myriad of More Deaths Sonne n’Écoute Personne n’Écoute Per One Listen to No One Listen to No     Les Damnations (1967) / Damnations   Au-Dela de la House Beyond the Swell Minuit à Perte de Vue Endlessly Midnight   Pandémonium (1976) / Pandemonium   Jasmin d’Hiver (1982) / Winter Jasmine   Flammes Immobiles (1985) / Still Flames   “Ne jamais dire son rêve” “Never share your dream” “Les eaux de ce pays-là ne s’écoulent jamais” “The waters of that country never flow” “Brûler l’encense dans la quiétude” “To burn incense in the quiet of a room”   Trous Noirs (1986) / Black Holes