What is Surrealism?
The brain controls all of our movements, even the ones we do not know about. The brain sends electric and chemical signals to all parts of our body so we can function. But from a psychological point of view, the two halves of the brain, left and right, are responsible for specific characteristics an individual might exhibit. Is it possible that Saramago was dabbling in the complexity of personality and individual characteristics to synthesize an even more surrealist effect? Watch Video
The power in Saramago’s question is the connection he makes between our brain(s) and the Earth. “… between the three millimeters of cortex which allow us to think and the few kilometers of the atmosphere which permit us to breathe, each and every one of them insignificant in their turn, not just when compared with the size of the galaxy, but event the simpler diameter of the earth.” (Saramago 24).
How is it possible that Saramago makes something so vital and significant to our subsistence seemed unimportant and miniscule at the same time? That was his interpretation, but this could have sparked many more concepts. For example, the brain controls the body’s functions, emotions, cognitive activities, perceptions, understanding, and memory. The list could go on, but the route Saramago chose is what makes it surreal.
The best part of surrealist writing is the “grey area.” The “grey area” represents the endless amount of answers, questions, and interpretations of surrealist work. The author and reader benefit from this; the author is not confined to blatantly give the reader an answer, while the reader is not seeking an answer from the writer. The best surreal writings are 90% real. If the story is too strange, the reader will find it difficult to connect with the characters and their problems of the story. Some stories seem completely normal, until it is revealed that something is horrifyingly wrong, such as The Metamorphosis, by Kafka. Then again, making surreal pieces of work can be difficult.
Henry James said, “Tell a dream, lose a reader,” (La Force, “The Exchange: Tad Friend). Nothing is more boring than listening to another’s dreams, but how can this be possible if surreal writing is an empty void of hallucinations and dreams that are being translated into a story? The trick is to morph it, so it can be anyone’s dream. The challenge is finding the balance of reality and surrealism to make it relatable to anyone. So that any individual can interpret it in one-way oranother, to make his or her own, and from one story, each reader can convey a similar, but different message.
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