Picture of author.

Leonora Carrington (1917–2011)

Teoksen The Hearing Trumpet tekijä

39+ teosta 2,481 jäsentä 70 arvostelua 14 Favorited

Tietoja tekijästä


(eng) Do not confuse with painter Dora de Houghton Carrington (1893-1932).

Tekijän teokset

The Hearing Trumpet (1967) 1,093 kappaletta
Down Below (1944) 310 kappaletta
The Seventh Horse and Other Tales (1988) 141 kappaletta
The Skeleton's Holiday (2018) 109 kappaletta
The Milk of Dreams (2013) 75 kappaletta
The Tarot of Leonora Carrington (2021) 48 kappaletta
The stone door (1977) 39 kappaletta
Leonora Carrington (1995) 36 kappaletta
The Debutante and Other Stories (2017) 28 kappaletta

Associated Works

The Weird: A Compendium of Strange and Dark Stories (2011) — Avustaja — 821 kappaletta
Pahoja tyttöjä, villejä naisia (1986) — Avustaja — 526 kappaletta
The Oxford Book of English Short Stories (1998) — Avustaja — 193 kappaletta
The Big Book of Classic Fantasy (2019) — Avustaja — 166 kappaletta
The Penguin Book of Modern Fantasy by Women (1995) — Cover artist, Contributor — 166 kappaletta
The Big Book of Modern Fantasy (2020) — Avustaja — 109 kappaletta
Surrealist Women : An International Anthology (1998) — Avustaja — 96 kappaletta
Surrealist Painters and Poets: An Anthology (2001) — Avustaja — 67 kappaletta
The Dedalus Book of Surrealism, I: The Identity of Things (1656) — Avustaja — 58 kappaletta
Infinite Riches (1993) — Avustaja — 54 kappaletta
South From Midnight (1994) — Avustaja — 13 kappaletta
Van Flaubert tot heden : Franse verhalen — Avustaja — 3 kappaletta
怪奇小説傑作集 4 (創元推理文庫 501-4) (1969) — Avustaja — 1 kappale

Merkitty avainsanalla


Kanoninen nimi
Carrington, Leonora
Muut nimet
Prim (childhood nickname)
Carrington, Mary Leonora
Maa (karttaa varten)
England, UK
Clayton-le-Woods, Leyland, Lancashire, England, UK
Mexico City, Mexico
Florence, Italy
London, England, UK
Paris, France
Mexico City, Mexico
New York, New York, USA
Spain (näytä kaikki 9)
Westwood House, Clayton-le-Woods, Leyland, Lancashire England, UK
Hazelwood Hall, Morecambe, Lancashire, England, UK
Saint-Martin-d'Ardèche, France
Chelsea School of Art
Ozenfant Academy of Fine Arts
Mrs. Penrose's Academy of Art, Florence
short story writer
Ernst, Max (lover)
Weisz, Emerico (spouse)
Leduc, Renato (spouse)
Moorhead, Joanna (second cousin)
Ozenfant, Amédée (teacher)
Edgeworth, Maria (ancestor) (näytä kaikki 8)
Weisz Carrington, Gabriel (son)
Weisz Carrington, Pablo (son)
Palkinnot ja kunnianosoitukset
Order of the British Empire (2000)
Lyhyt elämäkerta
Leonora Carrington was born to an Anglo-Irish family in Clayton Green, Lancashire, England. Her parents were Marie (Moorhead) and Harold Wylde Carrington, a wealthy textile manufacturer, and she had three brothers. She was educated by governesses and attended two convent boarding schools, but was expelled for rebellious behavior. In 1935, her mother sent her to Chelsea School of Art in London for a year; she transferred to the Ozenfant Academy of Fine Arts established by French modernist Amédée Ozenfant. She then went to Florence, Italy, where she attended Mrs. Penrose's Academy of Art. Her father opposed her desire to pursue a career as an artist and writer, but her mother encouraged her and gave her a copy of Herbert Read's book Surrealism. In 1937, 19-year-old Carrington met German Surrealist artist Max Ernst, 26 years her senior, at a party in London, after which Ernst separated from his wife and ran off with Carrington. The couple went to live in a small farmhouse in Saint-Martin-d'Ardèche in the Rhône Valley of France, where they began to collaborate and support each other's artistic development. They painted and sculptured guardian animals to decorate their home, and made portraits of each other. At this time, Carrington completed her first major painting Self-Portrait (Inn of the Dawn Horse), now at the Metropolitan Museum of Art in New York City. After Nazi Germany invaded France in World War II, Ernst was arrested by the Gestapo, but managed to escape and flee to the USA with the help of Peggy Guggenheim. Carrington was devastated. She was persuaded to go to Spain, where she had a mental breakdown and was institutionalized. She was given electro-convulsive therapy and treated with the drugs Cardiazol and Luminal. This experience would influence her artistic and written works, for example, her 1944 memoir Down Below and her paintings Portrait of Dr. Morales (1940), Green Tea (1942), and Map of Down Below (1943). Carrington was released from the asylum into the care of a keeper sent by her family, whom she eluded in Lisbon. She made a marriage of convenience with Mexican poet Renato Leduc and in 1942, arrived in Mexico City, which already had a large community of European refugees from the Nazis. She remarried to Hungarian photographer Emerico "Chiki" Weisz, with whom she had two sons. After seven years, she held the first solo exhibition of her art at the Galeria Clardecor, and became famous almost overnight. She is considered to have feminised Surrealism by bringing a woman's perspective to what was otherwise a male-dominated artistic movement. She was also a founding member of the women's liberation movement in Mexico during the 1970s. Her best-known novel The Hearing Trumpet (1974) was reissued in 2021. At her death, she left behind an immense body of work: novels, prints, plays, costumes, and hundreds of sculptures and paintings.
Do not confuse with painter Dora de Houghton Carrington (1893-1932).



So much fun. Reminds me of Lolly Willowes by Sylvia Warner, except significantly more wild. It's a novel that constantly is upending its own narrative expectations--it's a humorous meditation on aging and ageism that becomes a gothic romance which becomes a magical realist murder mystery which becomes an apocalypse which becomes a founding of a new kind of world and a restoration of a different kind of religion. Does that mean that there's bunch of narrative threads which don't end up going anywhere? Yeah. But it also is an enormous rollicking adventure of a book that's often delightful.
I do wish it were less essentialist in its understandings of gender, and there's some racist depictions of characters of color that are uncomfortable at best. Like a lot of work by white cis women at this time, it comes very close to some really big ideas, but is hampered in its execution by the author's own paradigms.
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localgayangel | 39 muuta kirja-arvostelua | Mar 5, 2024 |
For some reason this one painting really speaks to me:
Leonora Carrington, The Temptation of St. Anthony (1945)

Carrington is a visual artist as well as an author. Like [a:Mervyn Peake|22018|Mervyn Peake|https://d2arxad8u2l0g7.cloudfront.net/authors/1341040504p2/22018.jpg], her artistic sensibilities are evident through her writing; essentially The Hearing Trumpet is as much a dadaist painting as it is a novel. It can be effectively divided into three parts each getting progressively more bizarre. The first is when the old woman is consigned to a nursing home, the second is the strange plot around the two psychic murderesses and the mystery of the winking Abbess, and the third is the supernatural cosmic winter the world is plunged into after the apparent triumph of the Venus cult. Throughout it the lead character and her compatriots, all elderly women, gain more and more freedom and vitality. They start the book as not just prisoners of their husbands and sons who shunt them aside but also of their own frail bodies. They end the book as masters of a surreal new realm. Carrington suggests that the patriarchy (never directly identified as such) is a cosmic mistake, the result of the sons of Adam stealing a chalice from the goddess Venus. Neglected old women in a remote nursing home unleash a winged beast to right this historical wrong and "sow panic among the nations." In the process the world tilts, the poles shift places, tropical birds languish confused on a snowy landscape, and whimsy reigns supreme.

Edit: My only real frustration in this book is the presence of a character that can only be described uncharitably as a Magical Negress. It would fit the genre and be less demeaning if that character were a figure in a dream, or a gust of wind, or a talking swan. Oh well, it's just one sour note at the symphony.
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ethorwitz | 39 muuta kirja-arvostelua | Jan 3, 2024 |
The feeling of reading something for the first time that you know you would read countless more times in your life is a special kind of magic.

Surrealism has been by big hyperfixation for the end of the year and Leonora Carrington has been a wonderful way in, remaining a true favourite, alongside her fellow of las tres brujas, Remedios Varo (I still need to dive into the work of Kati Horna). From the moment I saw my food friend add Carrington's novel, The Hearing Trumpet, to their TBR a spell was cast on me that upon reading said novel a pact sealed was sealed in earwax.

I've been meaning to get to this collection for a while and I'm so glad I finally pulled with trigger on an Audible Credit last night. The stories are so strange and magical-so filled with whimsy and emotion and wonder-reading them has been like a religious experience. The narration by Justine Eyre is absolutely fantastic.

Throughout these stories young women seek freedom among horses, hyenas, and questionable holy figures and orders. Many are extremely short bizarre fairytales. All are wondrous.

I am in love with Surrealism and adore the written forms as much, if not more than the visual arts, but I am truly besotted with las tres brujas and the angels of anarchy of which Carrington is a leading figure.
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RatGrrrl | 8 muuta kirja-arvostelua | Dec 20, 2023 |
I find it difficult to express how much I enjoyed this book. It has ignited a passion and hyperfixation for surrealism and surrealist and absurdist literature I am about to absolutely dive headfirst into. I devoured the audiobook in two sittings, staying up until gone 0400 and putting it on being the first thing I did this morning because this books is mesmerising!

Giving the overview of a surrealist story is always incredibly lacklustre, but here goes: An old lady with diminished hearing is gifted an ear trumpet with which she hears her family planning to ship her off to a facility for senile old women. She travels to the facility and is forced to join in the bizarre activities and strict esoteric form of Christianity. Friends and enemies are made. A history of an abess who quested for Holy Grail is recounted. Someone dies in suspicious circumstances and many of the ladies band together in protest. Things get very strange with a tower, riddles, a new age, geography and werewolves.

The above doesn't really spoil anything and absolutely doesn't do the book justice. I am a not even a novice when it comes to the surreal, though I have admired it and the Dada movement from afar for many years and only now really venturing into the literature, so I have no idea what to say. I just know that it was weird and wonderful. It is so rare to see old ladies presented with such character and agency, and I look forward to exploring what much more learned people have to say about it.

There are a few phrases regarding race that have not aged well. They do not seem to contain malice, though this absolutely not my place to say, and appear to be a vernacular of the time. However, this doesn't make them right to be used and shouldn't be ignored in a contemporary reading.

I listened to the great amateur recording of the book narrated by D J Elliott: https://youtube.com/playlist?list=PLmZPvb_2WrJ6oT1CK0QpMcYVriJQSH4TT&si=mcod...

***Minor Spoiler***

As a transfemme, I'm particularly interested in the character of Maud/ Arthur. While assumptions are given by one character as to why she came to be at the facility, I believe Maud can be read as a trans character, especially with her only being presented and discussed as a woman by herself and others until the end. I don't really know what to say about it, beyond that I like this as a headcanon and hope the discussion in the book isn't triggering for any trans folx who also read Maud this way.
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RatGrrrl | 39 muuta kirja-arvostelua | Dec 20, 2023 |



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