Ailsa Cox

James Hewison

Michelle Man

The English born artist and writer Leonora Carrington (1917-2011) has received much critical acclaim and achieved stellar status in Mexico, where she lived and worked for most of her life, having fled Europe via Spain in tormenting circumstances. Leonora Carrington: Living Legacies brings together a collection of chapters that constitute a range of artistic, scholarly and creative responses to the realm of Carrington emphasizing how her work becomes a medium, a milieu, and a provocation for new thinking, being and imagining in the world. The diversity of contributions from scholars, early career researchers, and artists, include unpublished papers, interviews, creative provocations, and writing from practice-led interventions. Collectively they explore, question, and enable new ways of thinking with Carrington's legacy. Wishing to expand on recent important scholarly publications by established Carrington researchers which have brought historical and international significance to the artist's legacy, this volume offers new perspectives on the artist's relevance in feminist thinking and artistic methodologies. Conscious of Carrington's reluctance to engage in critical analysis of her artwork we have approached this scholarly task through a lens of give and return that the artist herself musingly articulates in her 1965 mock-manifesto Jezzamathatics: "I was decubing the root of a Hyperbollick Symposium ... when the latent metamorphosis blurted the great unexpected shriek into something between a squeak and a smile. IT GAVE, so to speak, in order to return." (Aberth, 2010:149). In adopting her playful conjecture, this publication seeks to bring Carrington and her work to further prominence.

Living Legacies

Leonora Carrington

A good time and a romping rhyme for ages six to ninety-nine. Nick was in the mood to take a different path home To see new things and be free to roam. He didn't fully grasp what his Gran was trying to say. Beware the bear, she warned. But he was on his way. He bounded through the trees and he paddled by the lake. It wasn't till the tunnel that he made his big mistake. He stomped and sang and echoed. It was tons of fun. But now the bear's awake. Well, there's nowhere to run. With a little more care he would have tiptoed past the bear. But now the bear's awake he has to trick his way out of there. How's he going to do it? The answer's really cool. I don't want to ruin it, but this I can tell you: It's more than a story, it's a rhyme with a flow. So read it out loud. Go on, give it a go.

Beware the Bear

It's been 10 years since Jack chopped down the beanstalk. Now, he works as a handyman who fixes odd problems around town. He has befriended a young girl named Zelie with a fascination for magic. But magic is illegal now because people believe it is just too dangerous to use. Even speaking about it could have you thrown in prison so none of the children know anything about Jack and what happened with his magic beans. Thirsty for answers, Zelie peeks over the twisted fence into the forbidden garden and discovers the stump of the beanstalk. In her quest for truth, she discovers so much more than the fairy tale. It turns out that there are far worse threats than just a giant. Jack can chop down a beanstalk but what Zelie has started, even he can't stop.

Behind the Twisted Fence

Roger Shannon

The English born artist and writer Leonora Carrington (1917–2011) has received much critical acclaim and achieved stellar status in Mexico, where she lived and worked for most of her life, having fled Europe via Spain in tormenting circumstances. Leonora Carrington: Living Legacies brings together a collection of chapters that constitute a range of artistic, scholarly and creative responses to the realm of Carrington emphasizing how her work becomes a medium, a milieu, and a provocation for new thinking, being and imagining in the world. The diversity of contributions from scholars, early career researchers, and artists, include unpublished papers, interviews, creative provocations, and writing from practice-led interventions. Collectively they explore, question, and enable new ways of thinking with Carrington’s legacy. Wishing to expand on recent important scholarly publications by established Carrington researchers which have brought historical and international significance to the artist’s legacy, this volume offers new perspectives on the artist’s relevance in feminist thinking and artistic methodologies. Conscious of Carrington’s reluctance to engage in critical analysis of her artwork we have approached this scholarly task through a lens of give and return that the artist herself musingly articulates in her 1965 mock-manifesto Jezzamathatics: “I was decubing the root of a Hyperbollick Symposium … when the latent metamorphosis blurted the great unexpected shriek into something between a squeak and a smile. IT GAVE, so to speak, in order to return.” (Aberth, 2010:149). In adopting her playful conjecture, this publication seeks to bring Carrington and her work to further prominence.

James Hewison

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