Houses Are Really Bodies: The Writing of Leonora Carrington

“Houses are really bodies,” writes Leonora Carrington in The Hearing Trumpet, her novel written in the early 1960s, now considered a classic work of fantastic literature. “We connect ourselves with walls, roofs, and objects just as we hang on to our livers, skeletons, flesh and bloodstream.” Carrington, long-considered to have been overshadowed by her relationship with Max Ernst (like many of her female Surrealist counterparts, frequently cast as muses rather than auteurs), has in recent years seen a popular revival of her rich creative oeuvre, which includes painting, drawing, and sculpture, as well as a significant body of literary work.