A stunning work of memoir and an unforgettable depiction of the brilliance and madness by one of Surrealism's most compelling figures In 1937 Leonora Carrington—later to become one of the twentieth century’s great painters of the weird, the alarming, and the wild—was a nineteen-year-old art student in London, beautiful and unapologetically rebellious. At a dinner party, she met the artist Max Ernst. The two fell in love and soon departed to live and paint together in a farmhouse in Provence. In 1940, the invading German army arrested Ernst and sent him to a concentration camp. Carrington suffered a psychotic break. She wept for hours. Her stomach became “the mirror of the earth”—of all worlds in a hostile universe—and she tried to purify the evil by compulsively vomiting. As the Germans neared the south of France, a friend persuaded Carrington to flee to Spain. Facing the approach “of robots, of thoughtless, fleshless beings,” she packed a suitcase that bore on a brass plate the word Revelation. This was only the beginning of a journey into madness that was to end with Carrington confined in a mental institution, overwhelmed not only by her own terrible imaginings but by her doctor’s sadistic course of treatment. In Down Below she describes her ordeal—in which the agonizing and the marvelous were equally combined—with a startling, almost impersonal precision and without a trace of self-pity. Like Daniel Paul Schreber’s Memoirs of My Nervous Illness, Down Below brings the hallucinatory logic of madness home.

An old woman enters into a fantastical world of dreams and nightmares in this surrealist classic admired by Björk and Luis Buñuel. Leonora Carrington, painter, playwright, and novelist, was a surrealist trickster par excellence, and The Hearing Trumpet is the witty, celebratory key to her anarchic and allusive body of work. The novel begins in the bourgeois comfort of a residential corner of a Mexican city and ends with a man-made apocalypse that promises to usher in the earth’s rebirth. In between we are swept off to a most curious old-age home run by a self-improvement cult and drawn several centuries back in time with a cross-dressing Abbess who is on a quest to restore the Holy Grail to its rightful owner, the Goddess Venus. Guiding us is one of the most unexpected heroines in twentieth-century literature, a nonagenarian vegetarian named Marian Leatherby, who, as Olga Tokarczuk writes in her afterword, is “hard of hearing” but “full of life.”

Chart-topping comedian Rodney Carrington offers up his first book helping of the Texas-sized, down-home humor that has sold out his comedy tour across the nation.

Wyndham Lewis portrayed her as a tiny sex therapist, D. H. Lawrence as a frivolous artist's model and, elsewhere, as a gang-raped aesthete, and Aldous Huxley as jargon-speaking ultra-modern girl. Because of her Bohemian lifestyle, connection with the Bloomsbury group, her bobbed hair and outspoken views, painter Dora Carrington seems to symbolize the 'new' woman of the early 20th century. But the reality is more complex than that. While sexuality, infidelity and modernity were undeniably aspects of her personality, they were equally balanced by a loathing of her own femaleness, a devotion for 17 years with one man - albeit the homosexual Lytton Strachey, and respect for many aspects of traditional English life. Here is a vivid and compelling portrait of a remarkable woman -described by Lady Ottoline Morrell as 'a strange wild beast'.

A significantly expanded edition of Carrington's acclaimed Tarot series, featuring new archival images and research The British-born Mexican surrealist Leonora Carrington (1917-2011) spent a lifetime exploring the esoteric traditions of diverse cultures, and incorporated their ideas and symbols into her artistic and literary oeuvre. Tibetan Buddhism, the Kabbalah, ancient Egyptian and Mesopotamian magic, Celtic mythology, witchcraft, astrology and the Tarot were filtered through her feminist lens to create a visionary, woman-centered worldview. Carrington created a spectacular Major Arcana Tarot deck sometime during the 1950s, laying gold and silver leaf over brilliant color. Exhibited for the first time during her centennial exhibition Leonora Carrington: Magical Talesin 2018, this extraordinary work was a revelation for the public and inspired the publication of The Tarot of Leonora Carrington. This second, considerably expanded edition--encouraged by the overwhelmingly positive reception of Fulgur's publication in 2020--explores further the central position that the Tarot held in Carrington's work. The volume includes an introductory text by her son Gabriel Weisz Carrington, who recalls his mother's long involvement with the Tarot, followed by a revised and more extensive essay by scholar Susan Aberth and curator Tere Arcq, including detailed analysis of each card: their color symbolism, their relationship to other works and their iconographic origins in ancient esoteric beliefs, including the Mesoamerican influences of her adopted country. This new edition also reproduces previously unpublished photographs and images, as well as exciting new research into Carrington's influences, emphasizing the authors' claim that her work on the Major Arcanarepresents an esoteric roadmap to Carrington's feminist vision and wish for a new global gender equality toward a better ecological future for our planet.

“Complete Stories, a collection of Carrington’s published and unpublished short stories—many newly translated from their original French and Spanish—is a terrific introduction to her bizarre, dreamlike worlds.” —Carmen Maria Machado, NPR Surrealist writer and painter Leonora Carrington (1917–2011) was a master of the macabre, of gorgeous tableaus, biting satire, roguish comedy, and brilliant, effortless flights of the imagination. Nowhere are these qualities more ingeniously brought together than in the works of short fiction she wrote throughout her life. Published to coincide with the centennial of her birth, The Complete Stories of Leonora Carrington collects for the first time all of her stories, including several never before seen in print. With a startling range of styles, subjects, and even languages (several of the stories are translated from French or Spanish), The Complete Stories captures the genius and irrepressible spirit of an amazing artist’s life.

« In 2006 journalist Joanna Moorhead discovered that her father's cousin, Prim, who had disappeared many decades earlier, was now a famous artist in Mexico. Although rarely spoken of in her own family (regarded as a black sheep, a wild child; someone they were better off without) in the meantime Leonora Carrington had become a national treasure in Mexico, where she now lived, while her paintings are fetching ever-higher prices at auction today.Intrigued by her story, Joanna set off to Mexico City to find her lost relation. Later she was to return to Mexico ten times more between then and Leonora's death in 2011, sometimes staying for months at a time and subsequently travelling around Britain and through Europe in search of the loose ends of her tale.They spent days talking and reading together, drinking tea and tequila, going for walks and to parties and eating take away pizzas or dining out in her local restaurants as Leonora told Joanna the wild and amazing truth about a life that had taken her from the suffocating existence of a debutante in London via war-torn France with her lover, Max Ernst, to incarceration in an asylum and finally to the life of a recluse in Mexico City.Leonora was one of the last surviving participants in the Surrealist movement of the 1930s, a founding member of the Women's Liberation Movement in Mexico during the 1970s and a woman whose reputation will survive not only as a muse but as a novelist and a great artist. This book is the extraordinary story of Leonora Carrington's life, and of the friendship between two women, related by blood but previously unknown to one another, whose encounters were to change both their lives. »-- Site de l'éditeur.

Reprint. Paperback edition originally published: 2010.

Written by one of the leading international authorities on the sociology of race and sport, this is the first book to address sport′s role in ′the making of race′, the place of sport within black diasporic struggles for freedom and equality, and the contested location of sport in relation to the politics of recognition within contemporary multicultural societies. Race, Sport and Politics shows how, during the first decades of the twentieth century, the idea of ′the natural black athlete′ was invented in order to make sense of and curtail the political impact and cultural achievements of black sportswomen and men. More recently, ′the black athlete′ as sign has become a highly commodified object within contemporary hyper-commercialized sports-media culture thus limiting the transformative potential of critically conscious black athleticism to re-imagine what it means to be both black and human in the twenty-first century. Race, Sport and Politics will be of interest to students and scholars in sociology of culture and sport, the sociology of race and diaspora studies, postcolonial theory, cultural theory and cultural studies.