By G Venkataraman
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In addition to the exercises known as automatic writing, which had a considerable impact on his mature style in both prose and poetry, he wrote a number of Surrealist narratives combining elements of the novel (such as description and dialogue) and the essay. The most important of these, Le Paysan de Paris (1926; Nightwalker, 1970), is a long meditation on the author’s ramblings in his native city and on the “modern sense of the mythic” inspired by its streets, shops, and parks. In the 1930’s, after his espousal of the Communist cause, Aragon began a series of 37 Aragon, Louis Critical Survey of Poetry Louis Aragon (Library of Congress) novels under the general title of Le Monde réel (1934-1944), which follow the tenets of Socialist Realism.
This trait is true to some extent even of his essays, although the latter tend to be more formal to both diction and rhetorical strategy. His nonfiction works are voluminous, for he was an active journalist for much of his life, producing reviews and essays on politics, literature, and the visual arts for a variety of Surrealist and then Communist publications. Achievements Like most writers who have taken strong political stands, Louis Aragon was, during the course of his lifetime, the object of much praise and blame that had little to do with 38 War Poets Aragon, Louis the literary value of his work.
The Surrealist approach to imagery evolved directly out of Symbolism in its more extreme forms, such as “Le Bateau ivre” (“The Drunken Boat”) of Rimbaud and the Chants de Maldoror (1869) of Comte de Lautréamont. Despite its hopelessness, “Poem to Shout in the Ruins” conveys the almost hallucinatory power the Surrealists saw in imagery: its ability to charge ordinary things with mystery by appealing to the buried layers of the subconscious. “Familiar objects one by one were taking on . . the ghostly look of escaped prisoners.
A hot story by G Venkataraman