A review of le Domaine des Enchanteurs
Bruno Geneste and Paul Sanda, Les surréalistes et la Bretagne : le Domaine des Enchanteurs. Éditinter, 2015.
small boat travels the invisible depths of the unconscious, and puts man to challenge of crossing the mysteries of desire, to crack in himself the doors of the marvelous. – Bruno Geneste and Paul Sanda
Ouessant, l'(H)ermitage des Grands Vents (Éditions Rafael Surtis, 2013), Les surréalistes et la Bretagne is the second essay from the association between the poets Bruno Geneste and Paul Sanda, Surrealists of the naked forces, of the shore, the
sand and the rocks. Thirty-two short chapters are devoted to creators, Surrealist for most, and their relationship with the geography, culture and mythology of Britanny. They are the Great Ancestors, of which the two poets, having become sea foam men, feel
the presence in their dérives along the shore, the foreshore and the cliffs, but also in the House of Eve of the Creac’h semaphore at Ouessant, writing place of this book, and during their shamanistic dances…
The last six chapters are devoted to the presentation of Sanda and Geneste’s poetic theories, and thus form a sort of manifesto of the oceanic Surrealism, or Surrealism of the shore. What these poets call the Atlantic experience of the
edge is to amass experiences, insights and perceptions, in contact with the elements of nature involved in the Breton landscape :
And the semaphore could drop on us and in us its turning lightning in the Ouessant
night, the long poem of a fierce sea like no other. So we have chosen to extend ourselves here constantly, in the din of the rocks and into the aqueous immensity able to leave an impassable gap fill our senses and desires, and all volunteer intensity of exile
to the heart of the geological complex that carries it on: the invisible current that carries the poem to the surface of a continent made of magmas and wicks that the ebb jostles.
In the chapter on “the
end of the earth of Yves Tanguy” is mentioned the Geopoetic, invented by the writer Kenneth White1 in the early 1980s and described in his book Le Plateau de l’albatros. Indeed, the poetic quest pursued by the two authors of Les surréalistes
et la Bretagne approaches the founding principles of this movement of thought and creation, defined on the International Institute of Geopoetic’s website:
The Geopoetic is a transdisciplinary theory and
practice applicable to all areas of life and research, which aims to restore and enrich the human-Earth relationship that has long been broken, with the ecological, psychological and intellectual consequences we know about, thus developing new existential
perspectives in a refounded world.2
An experiment of oceanic Surrealism, led by Sanda and Geneste, is mentioned in their book. On 6 November 2014, on the shores of the Sussex coast, two children discover a beached
bottle containing the fragment of the poem “La femme sur la plage”, by André Breton. Under the poem is written the following: “A poet, a poem, a bottle in the sea … / Bottle launched by the House of Poetry of Quimperlé’s
Country, September 5, 2014. If you find this bottle please contact us at 06 20 82 82 24”. This took place on the occasion of the fourth edition of “The Beached Bottles”, organized on the idea of Paul Sanda, by the House of Poetry of
Quimperlé’s Country, an association led by Bruno Geneste. Each year, seven glass bottles, each containing a poem, are launched at the port of Doëlan (Finistère).
The poetic experience
of Geneste and Sanda is in continuity with the Surrealist and Gnostic spirit that animated the group of the Supérieur Inconnu magazine (1995-2011), to which Paul Sanda has been a part of.
1. Prose poems
extracted from Les Limbes incandescentes, by Kenneth White, are published in the eighth issue of La Brèche in November 1965. Then in 1996, editions L’Instant Perpétuel publish La Danse du chamane sur le glacier, a Kenneth White’ Geopoetic
essay on the work of Jorge Camacho, accompanied by seven drawings and six photographs of a sculpture of the latter.
David Nadeau (Québec)
Cet ouvrage a reçu la bourse Sarane Alexandrian attribuée en 2014 par la Société des Gens de Lettres.