Kadri - Reimagining life: philosophical pessimism and the revolution of surrealism

T he following people and places can be considered guilty or gilt by association for the book that follows:

Many of the central threads of this work were first conceived while a student in the Department of Philosophy at the University of California, Santa Cruz. While those threads would all be fundamentally reimagined many times over, I benefited from rather exceptional opportunities in the form of independent studies and teaching through the philosophy department, which allowed the chance to develop my own lines of research. That research received further support from consecutive research awards over my final two years there, sponsored by the humanities division. And all of that work was deeply indebted on a personal level to the environment provided by the likes of Lynn Galiste, Robert Goff, the Moths, Tim Murphy, and Porter College. Much of the formal material for the book was developed and written while I was affiliated with the University of Essex. The Department of Art History and Theory and the Centre for Critical Studies at Essex provided a number of valuable opportunities to present key parts of the material in the form of seminars and guest lectures. I wish to thank Matthew Bowman, Margaret Iversen, and Oscar Reyes for their roles in arranging such events, and also Libby Armstrong, Emma Berry, and Michele Hall for so reliably helping make any such activity actually happen.

I gratefully acknowledge the support of Fairleigh-Dickinson University Press, and especially Harry Keyishian for his initial interest in the proposal for the book and kind assistance in the early editorial stages. Thanks also to Christine Retz, Julian Yoseloff, and Rowman & Littlefield Publishing for their guidance during later production stages.

A number of individuals have made unique contributions to the book, and my basic capacity to write it, during various stages of its writing. It isnt possible here to express the similarly unique measures of appreciation they deserve, but for the positive impacts their influence had in how the project took shape, thanks go to Stephen Franklin, Terri Geis, Tristan Hanlon, Rabie Kadri, Selma Kadri, Gene Kan, Emily King, Jitka Kingova, Jesse Kingsley, Maria Konta, Bianca Laleh, Rallou Lessios, Cynthia Lester, Jeremy Lin, Megan Mercurio, Sally Mincher, Stephen Moonie, Emilia Palonen, Frank Schalk, and Maria Tidball-Binz.

My own knowledge of Surrealism, as well as my understanding of it as a sensibility still having some life left in it, has benefited immeasurably from having had the chance to be around and talk with the following people: Elza Adamowicz, Roger Cardinal, Georgiana Colville, Jonathan Eburne, Marion Endt, Elizabeth Ezra, Jill Fell, Rachael Grew, Karla Heubner, Sharon-Michi Kusonoki, Elizabeth Legge, Silvia Loreti, Neil Matheson, Catriona McAra, Robert McNab, Majella Munro, Gavin Parkinson, Eric Robertson, Robert Short, Jeremy Stubbs, and Ian Walker.

It is worth giving separate acknowledgment to Krzysztof Fijakowski and Michael Richardson, who have influenced the entirety of the book from having read and commented extensively upon full drafts of the manuscript. Such effort, however, is but a minor example of the kind of intellectual fellowship and collaborative aspect of any intellectual activity that much of their own work on Surrealism has emphasized, and which they have admirably tried to extend.

From the time I began work on this book, I have had the good fortune of finding an interesting few, possessed of a kind of intelligence, perversity, humor, and capacity for friendship such that the extent of their presence during major formative stages this work went through cannot be separated from the development of my own thought. Even though they were generously consistent in offering their thoughts and general complicity to my pursuits while writing this book, those often may have seemed to be an endless, muddled set-upbut now Barnaby Dicker, Daniel Garza-Usabiaga, Zanna Gilbert, Benjamin Greenman, Elliott H. King, Kimberley Marwood, Donna Roberts, Jeremy Spencer, and Katherine White-bread get to hear the punchline.

Finally, I give special thanks to David Hoy and Dawn Ades, who, with seemingly limitless knowledge, openness, and generosity, have always been for me invaluable models of how intellectual life can be lived. They have a lot of style.

Bifur (Paris: 19291931). Two vols. Paris: Jean-Michel Place, 1976.

Documents (19291930) . Two vols. Paris: Jean-Michel Place, 1991.

Le Grand Jeu: Collection complte (Paris: 19281932). Paris: ditions Jean-Michel Place, 1977.

Littrature (Paris: 19191924). Paris: ditions Jean-Michel Place, 1978.

La Rvolution Surraliste ( LRS ) (Paris: 19241929). Paris: ditions Jean Michel Place, 1975.

Maintenant (Paris: 19121914). Paris: Eric Losfeld, 1957.

Minotaure (Paris: 19331939). Three vols. Genve: ditions dart Albert Skira, 1981.

Pierre, Jos, ed. Tracts surralistes et dclarations collectives. Vol. 1 (19221939). Paris: Eric Losfeld/Le Terrain Vague, 1980.

Pierre, Jos, ed. Tracts surralistes et dclarations collectives. Vol. 2 (19401969). Paris: Eric Losfeld/Le Terrain Vague, 1982.

Le Surralisme au service de la Rvolution ( SASDLR ), nos. 16 (Paris, 19301933). Paris: ditions Jean-Michel Place, 1976.

Thvenin, Paule, ed. Bureau de recherches surralistes, Cahier de la Permanances , octobre 1924avril 1925 ( Cahier ). Archives du surralisme. Vol.1. Paris: Gallimard, 1988.

Bibliographic information on the original French sources of particular essays and articles found collected in the following volumes are provided with the first citations they have within the notes.

Works by Nietzsche are cited by abbreviations of the relevant work and associated book, chapter, and/or section numbers. Walter Kaufmanns translations have been used for all works and full volume details can be found in the regular entries for Nietzsche in this bibliography.

Adorno, Theodor. 1991. Looking Back on Surrealism. In Notes to Literature , vol. 1, ed. Rolf Tiedemann, trans. Shierry Weber Nicholson. New York: Columbia University Press.

Ades, Dawn. 1978. Dada and Surrealism Reviewed . London: Arts Council of Great Britain.

. 1985. Photography and the Surrealist Text. In LAmour fou: Photography and Surrealism , ed. Rosalind Krauss and Jane Livingston. New York: Abbeville Press.