Down Below
Apr 2017 · New York Review of Books
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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.
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.
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About the author
Leonora Carrington (1917–2011) was born in Lancashire, England, to an industrialist father and an Irish mother. She was raised on fantastical folk tales told to her by her Irish nanny at her family’s estate, Crookhey Hall. Carrington would be expelled from two convent schools before enrolling in art school in Florence. In 1937, a year after her mother gave her a book on surrealist art featuring Max Ernst’s work, she met the artist at a party. Not long after, Carrington and the then-married Ernst settled in the south of France, where Carrington completed her first major painting, The Inn of the Dawn Horse (Self-Portrait), in 1939. In the wake of Ernst’s imprisonment by the Nazis, Carrington fled to Spain, where she suffered a nervous breakdown and was committed to a mental hospital in Madrid. She eventually escaped to the Mexican embassy in Lisbon and settled first in New York and later in Mexico, where she married the photographer Imre Weisz and had two sons. Carrington spent the rest of her life in Mexico City, moving in a circle of like-minded artists that included Remedios Varo and Alejandro Jodorowsky. Among Carrington’s published works is a novel, The Hearing Trumpet (1976), and two collections of short stories. A group of stories she wrote for her children, collected as The Milk of Dreams, is published by The New York Review Children’s Collection; her Complete Stories is published by Dorothy, a Publishing Project in the United States and by Silver Press in the United Kingdom.
Marina Warner’s studies of religion, mythology, and fairy tales include Alone of All Her Sex: The Myth and the Cult of the Virgin Mary, From the Beast to the Blonde, and Stranger Magic (National Book Critics Circle Award for Literary Criticism; Truman Capote Prize). A Fellow of the British Academy, Warner is also a professor of English and creative writing at Birkbeck College, London. In 2015 she was given the Holberg Prize.
Marina Warner’s studies of religion, mythology, and fairy tales include Alone of All Her Sex: The Myth and the Cult of the Virgin Mary, From the Beast to the Blonde, and Stranger Magic (National Book Critics Circle Award for Literary Criticism; Truman Capote Prize). A Fellow of the British Academy, Warner is also a professor of English and creative writing at Birkbeck College, London. In 2015 she was given the Holberg Prize.
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