“If all the ways I have been along were marked on a map and joined up with a line, it might represent a minotaur.” —Pablo Picasso
Craig McDonald’s novel Toros & Torsos is based on a theory that the famous Los Angeles “Black Dahlia” murders were inspired by the Surrealist masterpieces of the 1930s. McDonald took this idea even further and created a murder masterpiece that suggested a conspiracy of serial Surrealist killers. A particular inspiration was Man Ray’s “Minotaur” in which the pose of the subject was eerily similar to the body of the Black Dahlia.
The surrealists were always captivated by the myth of the Minotaur. The beast trapped in the maze became the symbol of the surrealist subject lost in the labyrinth of his own subconscious desires. The artists embraced the beast for its representation of the self-reflexive nature of monstrosity that comes from the Minotaur being created from both human and animal.
Although never a subscriber to the movement, Picasso was nevertheless interested in the Minotaur, and the animal is increasingly present in his work in the 1930s.
For Picasso, the Minotaur acts as the keeper of taboo sexual secrets and also the subconscious fulfilment of them.
Scroll down to read an excerpt from Toros & Torsos in which the myth of the Minotaur is described.
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“Hector lit a cigarette and said, “Bishop, I’ve been looking over Le Minotaure some more. What exactly is it with the bulls…the Minotaur thing? What’s the significance to you surrealists?”
Bishop pulled out one of his own cigarettes and then fastened it to the end of a long, black cigarette holder. Hector lit the little man’s cigarette with his Zippo and then lit another for Rachel. Hem, a nonsmoker, scooted his chair around a little closer to Harriet, who also wasn’t smoking.
“Partly, I think it’s just a preoccupation of our times, driven in no small part by this man, here.” Bishop gestured at Hem. “First with The Sun Also Rises, and now with Death in the Afternoon. Hem has made us all fascinated with the myth and ritual of the bullfight. And many of us in the surrealist movement are Spainophiles and aficionados in our own rights. But it is also the myth of the Minotaur that fascinates us and made us choose the Minotaur to serve as our kind of surrealist emblem.”
Hector said, “I’m just an old boy from Southern Texas. My Greek mythology is, well, it ain’t great. I mean, I know it involves something about a maze, or something, and some fella going into to kill the half-human, half-bull who lived at the center, but…” He shrugged. “But that’s as far as I go.”
Bishop said, “Harriet here is quite an avid folklorist. You tell Hector, dear.”
She smiled and blushed, her gaze darting around the table. It was apparent the little woman was intimidated by her story-teller company, but she pressed ahead:
“The story goes that Poseidon, the sea god, gifted the king of Crete — Minos — with a white bull. Minos was supposed to sacrifice the white bull, and when he didn’t, Poseidon retaliated by making the king’s wife, Pasiphaë, fall in love with and actually couple with the bull. Their offspring was a hideous creature, the Minotaur, a giant human hybrid with a bull’s head. Minos then hired Daedalus to construct the labyrinth to contain the Minotaur. Once a decade, Minos sent seven men into the labyrinth to their deaths — and to be food for the beast inside. Finally, a hero, Theseus, volunteered to be one of the seven sent to their deaths. Theseus was in love with Minos’ daughter, Ariadne. He planned to kill the Minotaur. Ariadne provided Theseus with a long spool of thread, so that after he had killed the monster, Theseus could follow the thread back out of the labyrinth.”
Hector blew a smoke ring and said, “Things went to plan, and then this Greek boy and the king’s daughter, Ariadne, they lived happily ever after?”
“Oh no,” Harriet Blair said, shaking her head. “Theseus abandoned Ariadne soon after. He was off on his next adventure.”
“In that, it sounds like one of my books,” Hector said. “But I see now — the myth, I mean. It’s a psychological minefield.”
From Toros & Torsos, Craig McDonald, © 2008
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