Ode à Charles Fourier

First edition of Jean Gaulmier's critical study of André Breton's poem "Ode à Charles Fourier", published in its entirety with commentary. The poem is preceded by an important introduction in three parts: "Birth of the poem", "Surrealism and Fourierism" and "Fourierism and literature". Iconography. Restoration to the upper right-hand corner of page 65.
Rare copy signed and inscribed by André Breton: "To René Magritte, another Prince of Attractions, his friend André Breton"
Breton's inscription bears witness to the deep appreciation between the two artists – despite critics who conveyed rumors of a definitive split based on their past quarrels. Indeed, it was in a letter to Magritte sent with the copy of his Ode that Breton described his disagreements with Magritte as "rare independent storms" between them. In so doing, he implicitly acknowledged a filiation between French and Belgian Surrealism of which Magritte was the undisputed - although unofficial - leader.
Moreover, his letters with Breton and the reading of his work inspired René Magritte to make an introspective reflection, instrumental in understanding his work. He shared his thoughts with his friend on 12 October 1961:
"I read L'ode à Charles Fourier again, with emotion. It goes without saying that it is far superior to the commentaries that accompany it, however scholarly they may be. "Le La" makes one long for the knowledge of many other thoughts that come in the night. The attention given to these thoughts seems only to be possible if our life is really "taken seriously" (Last night I thought of a car steering wheel made of a piece of bacon). There's no doubt that at night we can listen to or see things we don't care about, but during the day too many things we don't care about come our way. There are no daydreams, just the freedom to be attentive, during the day, to what is not indifferent to us. I believe that the world - as a dream - offers itself to us only in sleep" (Magritte, Letter to André Breton, 12 October 1961)
A precious dedication from the Pope of Surrealism to its most famous icon.