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“... What​ Leonora Carrington remembered most clearly about being a debutante in 1935 was her tiara ‘biting’ into her skull. In her short story ‘The Debutante’, the teenage narrator hates balls, ‘especially when they are given in my honour’ (Carrington’s parents threw one for her at the Ritz), so she engages a hyena to take her place: the animal is about the right size, and she reckons nobody will make it out properly in the candlelight ...”

“... The women surrealists​ were considered secondary to the male,’ Leonora Carrington reported; their role was to inspire, as well as cook and clean. But she was never comfortable with being a muse, or as Breton cast her, the femme enfant whose naive access to the unconscious made her the ideal conduit for the male artist ...”

“... Dalí, contributed the picture as barren dreamscape, a lush version of which was later conjured by Leonora Carrington and Dorothea Tanning. Remedios Varo pushed this kind of painting towards medievalesque illustration, while Frida Kahlo spiked it with symbols of personal and native trauma. Others painted dream chambers which sometimes open onto ...”

“... as they normalise their condition, or blamed or pitied or sympathised with for failing to do so. Leonora Carrington, on the other hand, writes of terrible things; in her world luck rules, not rationality. It is governed by fates and harpies, marked by the delightful cruelties and horrible transformations, exceptional pleasures and disgusting rewards of ...”

“... other émigré Surrealists in Mexico City, including Cesar Moro, Remedios Varo, Benjamin Péret, Leonora Carrington, Gordon Onslow-Ford and his wife, the writer Jacqueline Johnson, who became a close friend to whom Rahon dedicated a few poems. Her last collection, Noir Animal, appeared in 1941, although she did contribute some work to Dyn, the journal ...”

“... with visiting Surrealists and other artists who had fled the war in Europe. He became a patron of Leonora Carrington, who was also starting a new life there after the collapse of her romance with Max Ernst. Carrington was a frequent visitor to Xilitla, where she painted frescoes of minotaurs on the walls of the new ...”

“... into place. I resist describing Williams as an absurdist or surrealist (though I often think of Leonora Carrington, Samuel Beckett and Gertrude Stein while reading her). The narration is too homely, driven by idiosyncrasy, intimacy, and the valiant effort to maintain dignity. Besides, the sentences that come out of our mouths are routinely weirder than ...”

“... when moving house.) It was painted using a technique Vicuña learned from a research trip to visit Leonora Carrington in Mexico City in 1969: a liquid outline on a thin, single-colour background, filled in with ‘plenty of white’ and then colour last of all. The original inspiration was the undermining of European subjects and conventions by Indigenous ...”

“... which Breton, Duchamp and Ernst (her soon to be ex-husband) stand behind Nude at the Window, while Leonora Carrington sits on a rocking chair with a stone phallus between her legs. The split with Ernst was acrimonious, not least because Guggenheim believed her husband was still in love with Carrington, with whom he’d ...”

“... female auxiliary. It is worth remembering that it was not until the artists Remedios Varo and Leonora Carrington got to Mexico, away from the stifling embrace of the Surrealist phallocracy, that they produced their most original work.Several questions remain to be asked at the end of Caws’s provocative study. One concerns the status of the portrait ...”

“... is no moral in the ending – Serre has jettisoned that element from the folktale genre. Like Leonora Carrington, she does not mimic life, but has an interest in stories as machines with their own life on the page. But stories like Carrington’s ‘The Debutante’ fantasise about freedom (the freedom of a hyena ...”