The Journal of Surrealism and the Americas: Vol. 2 No. 2 (2008) - Table of Contents

“Surrealism and Photography: Introduction” by Wendy Grossman, p. i-iv.

“‘Surrealistic and disturbing’: Timothy O’Sullivan as Seen by Ansel Adams in the 1930s” by Britt Salvesen, p. 162-179. 

“‘As if one’s eyelids had been cut away’: Frederick Sommer’s Arizona Landscapes” by Ian Walker, p. 180-208.

“Clarence John Laughlin, Regionalist Surrealist” by Lewis Kachur, p. 209-226.

“A Swimmer Between Two Worlds: Francesca Woodman’s Maps of Interior Space” by Katharine Conley, p. 227-252. 

“Remembering Anne D’Harnoncourt” by Valery Oisteanu, p. 253.

“The 1930s: The Making of the ‘New Man’” by Julia Pine, p. 254-258.

“Beyond Bridges: The Cinema of Jean Rouch” by Robert McNab, p. 259-262.

“Review of Kirby Olson, ‘Andrei Codrescu and the Myth of America’” by Éva Forgács, p. 263-267.

“Review of Sally Price, 'Paris Primitive: Jacques Chirac’s Museum on the Quai Branly’” by Kate Duncan, p. 268-272. 

The Journal of Surrealism and the Americas: Vol. 1 No. 1 (2007) - Table of Contents

"Introduction to the Journal" by Samantha Kavky, Claudia Mesch, and Amy H. Winter, p. i-iii.

"Anti-Surrealist Cross-Word Puzzles: Breton, Dalí and Print in Wartime America" by Julia Pine, p. 1-29.

"William Carlos Williams’ A Novelette: an American Counterproposal to French Surrealism" by Céline Mansanti, p. 30-43

"The Vernacular as Vanguard: Alfred Barr, Salvador Dalí, and the U.S. Reception of Surrealism in the 1930s" by Sandra Zalman, p. 44-67

"Ben Cobb, Anarchy and Alchemy: The Films of Alejandro Jodorowsky" by David Church, p. 68-71

"Tamayo: A Modern Icon Reinterpreted" by Marta Julia Clapp, p. 72-76

"Robert Desnos, Surrealism, and 'Poetic Politics'" by Terri J. Gordon, p. 77-80

"Dali and the Specter of Cinema" by Frédérique Camille Joseph-Lowery, p. 81-84

"Julia Kelly's Art, Ethnography and the Life of Objects: Paris, c. 1925-1935" by Susan Power, p. 85-90

"The Janus-faced Legacy of Joseph Beuys" by Tatjana Myoko von Prittwitz, p. 91-93

"A.J. Meek, Clarence John Laughlin: Prophet Without Honor" by Jeffrey Ian Ross, p. 94-98

While the earlier affiliation between Salvador Dalí and André Breton had been, for the most part, fruitful and amicable, by the early 1940s when both had relocated to America as exiles from the war in Europe, their relations had become decidedly acrimonious. This animus is graphically revealed in the textual record the two left behind, in the form of treatises, memoirs, popular articles, transcribed lectures and exegeses: documents which map Breton’s efforts to differentiate the Surrealist movement as defined by his own directive, from that of the “popular” variety of Surrealism associated almost exclusively with Dalí in the United States. Likewise, they trace Dalí’s riposte, manifest in an attempt to minimize Breton’s profile in and contribution to Surrealism before an American audience via a program of negation. These “crossed words” document a vicarious “conversation” between Dalí and Breton between 1939 and 1944, when the two increasingly employed various text media to situate themselves and each other in terms of Surrealism in the New World. While not addressing each other directly per se, the “paper trail” in question registers the other’s presence either by direct reference, or conspicuous by its absence, and creates a dialectic that underscores the differences between what the two clearly identified as “orthodox” Surrealism as defined by Breton and his Parisian circle between the wars, and what might be termed “Dalínian” or “commercial” Surrealism – not necessarily endorsed by Dalí, but primarily associated with the artist and his work in North America.