Une semaine de bonte certainly DOES do everything but meet the expectations of an unsuspecting reader (or should I say spectator, since that feels a lot more acurate in this case) it even inverts the expectations that the spectator adapts to after having worked through a couple of chapters. There are themes and repetitions, even ones that show up inside the images as images - as a kind of subversive meta dialogue on the non-existing narrative - but once the reader has established a rapport with those themes and hints, they taper off into something that is completely slippery and ungraspable.
I agree with the fact that this work is obviously not designed to 'tell a story' as it were, to support a narrative, on the contrary it fights tooth and nail against any kind of continuous interpretation while the grouping and the framework, slim as it is, provides just enough structure to take away the possiblity of addressing and interpreting each of the illustrations as a standalone.
I was particularly fascinated with the workings of anatomical designs, not so much because they were more exceptionally rendered than the other artwork (or actually the most acurate and realistic depictions) but more because their placement and integration conveys the feeling of Max Ernst being utter fascinated with the concept. Apart from that, the water-themed images are certainly the most memorable of the set and provide the most coherent contexualisation of all the chapters.
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