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Leonora Carrington was celebrated by male Surrealists as an icon of femme-enfant and later of female madness. For many male Surrealists, the marker of femininity is madness while male is associated with sanity. In her autobiography, Down Below, Carrington reveals that the Surrealist marker of femininity is a masculine fantasy. Bringing together recent studies in Surrealism and feminist studies in autobiography, I discuss how Carrington establishes her autobiographical I as an interpersonal subject and thereby tackles the gender politics of Surrealism. Reading Down Below as a feminist cultural criticism in the contexts of Surrealism and World War II, I argue that Carrington re-inscribes herself, a once mad woman, as a historical witness to World War II and a literary subject to reclaim her body.
