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A memoir of the infamous ?last Surrealist? amid the heady militancy of May '68.
Alain Segura was a teenage anarchist in Paris during the mid-to-late 1960s when he hung around with members of the Enragés and the Situationist International. He was particularly captivated by Yugoslavian militant, poet, and painter Marianne Ivsic, a member of André Breton's Surrealist group. It was Guy Debord who approvingly called her ?the last Surrealist.?A Season with Marianne details the heady days of friendship, rebellion, and creative militancy surrounding May '68, against the backdrop of a colossal split between the Anarchist International and the Situationists in 1967, and the impossible demands of a revolution briefly glimpsed.
Anna O'Meara is a Ph.D. Candidate in Art History & Visual Studies at the University of Victoria. Her dissertation research investigates how the Situationist concept of Spectacle relates to World. Anna is coeditor of On the Poverty of Student Life: Considered in Its Economic, Political, Psychological, Sexual, and Particularly Intellectual Aspects, and a Modest Proposal for Its Remedy (Common Notions, 2022). Her translations have been published by Three Rooms Press, Verso, and Annex Press, among others.
Sarah Lynne Roberts is a PhD student in Art History Visual Studies at the University of Victoria. She studies surrealist intersections with Latin American film from a feminist perspective. She holds an MA in Art History Visual Studies from the University of Victoria and a BA in Art History and Visual Culture with proficiency in French from the University of Exeter. Born in Watford, England, she lives in Victoria, BC, on the unceded territories of the Lekwungen peoples.
In June 2020, a pair of Serbian anarchists who had seen the text that I published in 2011 (?And So They Went on, the Knights on Their Quest,? see below) contacted me because they wanted to know more about one of its protagonists, Marianne Ivsic.
I recount the work undertaken in Serbia by those anarchists and me in Paris to track down as much as possible that concerned Marianne. Illustrations include pictures of the places in Paris where Marianne lived.
This is the heart of the book and the text that drew the attention of the Serbian anarchists. It mostly covers the period between 1966 and 1969, but extends as late as 1995.
I look back on the events of the 1960s and 1970s??twenty years later??and I also recall the end of Marianne's life and her legacy. A reproduction of one of her paintings is included.
I focus on an encounter with one situationist, René Viénet, whom I knew in the 1960s and reunited with 50 years later, as the result of the publication of ?The Knights on Their Quest.?
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