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Rachel Cohen

Max Ernst

Une Semaine de Bonté

Une Semaine de Bonteacute

Max Ernst, Une Semaine de Bonté, 1934

Some weeks after my father’s death I thought that I might at last begin my piece on Max Ernst’s Une Semaine de Bonté, but I didn’t.  I did spend some hours studying the images in the catalog of the complete collages, a massive black-spined book with thick cardboard covers that seem the gates to an inaccessible realm.  And it was a right time to be in contact with the images again, and to begin a small private inquiry into Ernst and Surrealism, but I couldn’t really write then, and I didn’t.

The show, at the Musée d’Orsay in the summer of 2009, affected me powerfully, the feeling while there an odd combination of extreme clarity and something like vertigo.  Afterwards I felt a great need to be sure that I could go through the images again, more slowly.  I coveted the forceful catalog and when at the gift shop they said there would be no American show and that they did not ship internationally, I bought it.  I carted it then from Paris to Switzerland, strong help was necessary to get it up and down the peaceable heights, and it had weighed down my luggage to New York and later been moved with my library to Cambridge.

The catalog has become one of the books that’s most important to me to see on my shelves.  Although it is not terribly frequently that I take it down to look through the pages, its presence is a strong clean line, like the novels and notebooks of Dostoevsky, or The Interpretation of Dreams.  “It’s all been squarely faced there,” is how the feeling might be named, “it’s all there, he wasn’t afraid.”