Tag Archives: Count de Lautreamont

MALDOROR 8: AN INSATIABLE THIRST FOR THE INFINITE

Balladeer’s Blog continues its poem by poem examination of the 1868 French language work The Songs of Maldoror by Isidore Ducasse, the self-titled Count de Lautreamont.

AN INSATIABLE THIRST FOR THE INFINITE

Maldoror 8This section begins with Maldoror wandering through the darkness of the night, at times nostalgically recalling the terror and dread with which he used to regard the sounds and distant impressions of the overnight hours. But that was when he was merely a human child and his mother would try to calm him as he huddled beneath his blankets listening fearfully to the savage or vaguely sinister sounds made by the beasts who roam the night.

She would explain away the horror of the distant noises by assuring him that the beasts meant no harm, but were instead filled with an insatiable thirst for the infinite, the same thirst she sensed in the son she was trying to comfort. Now, fully grown and more than human Maldoror prowls the night as one of the beasts making noises that terrify others in their beds. Supreme in his element our narrator blissfully describes some of the nightly tableaus that catch his attention. Continue reading

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MALDOROR 7: FROM TODAY I ABANDON VIRTUE

Maldoror 7Balladeer’s Blog continues its poem-by-poem examination of the 1868 work The Songs of Maldoror by Isidore Ducasse, the self-titled Count de Lautreamont. The title I’m assigning to this 7th piece for cross-reference purposes is From Today I Abandon Virtue. Prose translations are readily available in English for those who dislike poetry.

FROM TODAY I ABANDON VIRTUE

This poem begins with our supernatural figure Maldoror boasting of a tacit alliance he has made with prostitution to sow discord among families and erode the societal bond. He begins to recount the origin of that pact.

One night while walking through a graveyard Maldoror encountered a glow-worm as large as the mausoleum it stood next to. The light given off by the creature was blood-red, not greenish like glow-worms usually give off. The glow-worm, speaking to him in French told him he was providing illumination for him to read the inscription on a nearby tomb. Continue reading

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MALDOROR 6: THE BLOOD AND TEARS OF A CHILD

Maldoror 2Balladeer’s Blog resumes its examination of The Songs of Maldoror, the neglected 1868 masterpiece of surreal horror written by Isidore Ducasse, the self-designated Count de Lautreamont. As I’ve mentioned previously this 1868 work was so far ahead of its time it is still considered disturbing not only for its violence and demented sexuality but also for its vehement assault on religion and its overall tone.  

The Blood and Tears of a Child is the title I have chosen for this 6th poem from The Songs of Maldoror. I will be assigning unofficial titles to each poem for the sake of clarity and for easier cross-referencing. Titles will work better in the memory since otherwise we have only the poem numbers to go by. My unofficial titles should be more efficient than having to refer to a section of the book as “the part where Maldoror is crucified and his testicles are full of spiders” or such.  

THE BLOOD AND TEARS OF A CHILD

This section begins with our mysterious, once-human figure Maldoror rhapsodizing about how wonderful it is to let one’s fingernails grow for fifteen days (shades of Coffin Joe or Freddy Krueger’s bladed glove). He considers it the perfect length for plunging them into the breast of a child you’ve snatched from its bed. He cautions against killing the child outright, so that its long-term suffering can be better enjoyed.

Blindfolding the child first is a must, the monster maintains, because after days of slashing the child’s flesh from its body and breaking the child’s bones Maldoror enjoys slipping away, then returning to the torture room pretending to be a good Samaritan rescuing the child. Continue reading

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MALDOROR: A NEGLECTED MASTERPIECE OF SURREAL HORROR

“Maldoror and His Smile” by Lord Orlando

Balladeer’s Blog begins a comprehensive examination of The Songs of Maldoror, often referred to as just Maldoror. The original 1868 French language work by the self-designated Count de Lautreamont (real name Isidore Ducasse) was in verse form, which is great for poetry geeks like me but if you prefer prose there are plenty of prose translations available. 

This work of surreal horror was so far ahead of its time that the author himself, in one of the few existing copies of his correspondence, expressed fears that he might be jailed or thrown into an insane asylum and requested that the publisher literally “stop the presses.” Just 88 copies of the book were completed in that initial run and for a few decades The Songs of Maldoror languished in obscurity.  

By the 1890s those few copies of Maldoror had been circulating among the more adventurous literati of the time period and the work began to be hailed as a forgotten masterpiece by Maeterlink, Bloy, Huysmans and de Gourmont. This new acclaim ultimately resulted in a new run of copies – this time in the thousands instead of dozens like the first run. This also accounts for why some reviewers mistakenly refer to The Songs of Maldoror as an 1890s work, despite its original publication date of 1868. Continue reading

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