Authors Interviewing Characters: Crystal King Interviews Salvador Dalí

From Crystal King, the bestselling author of Feast of Sorrow and The Chef’s Secret, comes a new gothic mythological romance, In the Garden of Monsters, a retelling of the myth of Hades and Persephone, inspired by Salvador Dalí’s 1948 visit to the Sacro Bosco Mannerist statue garden. 

Julia Lombardi is a mystery even to herself. The beautiful model can’t remember where she’s from, where she’s been, or how she came to live in Rome. When she receives an offer to accompany celebrated eccentric artist Salvador Dalí to the Sacro Bosco—Italy’s Garden of Monsters—as his muse, she’s strangely compelled to accept. It could be a chance to unlock the truth about her past…

Shrouded in shadow, the garden full of giant statues that sometimes seem alive is far from welcoming. Still, from the moment of their arrival at the palazzo, Julia is inexplicably drawn to their darkly enigmatic host, Ignazio. He’s alluring yet terrifying—and he seems to know her.

Posing for Dalí as the goddess Persephone, Julia finds the work to be perplexing, particularly as Dalí descends deeper into his fanaticism. To him, she is Persephone, and he insists she must eat pomegranate seeds to rejoin her king.

Between Dalí’s fevered persistence, Ignazio’s uncanny familiarity and the agonizing whispered warnings that echo through the garden, Julia is soon on the verge of unraveling. And she begins to wonder if she’s truly the mythical queen of the Underworld…

Crystal King: Mr. Dalí, thank you for taking the time to speak with me today. What brought you to the mysterious Sacro Bosco garden in Bomarzo, Italy? 

Dalí: Ah, the Sacro Bosco! A place where reality dissolves into the fantastical—a true manifestation of the surreal. While I was in Rome, creating backdrops for the grand Rome Opera, I heard tales of this garden, where monstrous statues rise from the earth like fragments of a dream, where the ordinary is twisted into the extraordinary. I am drawn to places where the boundaries between the real and the unreal blur, where the subconscious mind is free to wander. The Sacro Bosco is not just a garden—it is a living surrealist painting, a space where the imagination is set free to explore the depths of the unknown. The moment I learned of its existence, I knew I had to visit. It is a place where the surreal comes to life, where every stone and every statue whispers the language of dreams. How could I resist such a perfect reflection of my own artistic vision?

Crystal King: You’re known for your unique perspective on art and reality. How does the atmosphere of the garden influence your work during this visit?

Dalí: Influence? No, no, the garden does not influence me—it collaborates with me! The air here is thick with the whispers of gods and the sighs of forgotten dreams. Each statue, each grotesque figure, they are my co-conspirators. They twist reality, bending it to reveal the hidden faces of time itself. My paintings during this time will be a mirror of the soul of this place—a reflection of its timeless chaos.

Crystal King: I’ve heard you’re painting a portrait of model Julia Lombardi as the goddess Persephone, whom the Italians call Proserpina. Can you tell me about that choice?

Dalí: Ah, Julia! The embodiment of Proserpina, she is the link between worlds, between life and death. In her eyes, I see the echoes of the underworld, the eternal dance between the dark and the light. She does not yet know, but she is at the heart of a cosmic play, a drama where gods war for her very soul. Painting her as Proserpina is not a choice—it is an inevitability, dictated by the stars and the soil of this ancient land.

Crystal King: The events in Sacro Bosco seem to be spiraling into the supernatural. How do you reconcile these experiences with your understanding of art and reality?

Dalí: Reality is but a canvas, a mere suggestion of truth. In the Sacro Bosco, the veil between worlds is thin—so thin that one might slip through without noticing. The supernatural? It is just the natural that has not been explained yet. In this place, the impossible becomes possible, the unseen becomes seen. My art is a gateway, a portal through which the mundane is transformed into the divine.

Crystal King: What do you hope to achieve by the end of your stay at the Sacro Bosco?

Dalí: To achieve? What is achievement but a fleeting moment in the infinite tapestry of time? I do not seek to achieve; I seek to reveal. By the end of my stay, I will have captured the essence of this place, this moment, this intersection of the real and the unreal. My work will be the key to understanding the true nature of the gods and monsters that dwell not only in Sacro Bosco but within each of us.

Crystal King: Mr. Dalí, your works often feature women as central figures, yet you’ve famously said that women should serve as muses rather than creators. I understand that Julia Lombardi is herself an artist, not just a model. Could you elaborate on your thoughts about women being artists?

Dalí: Ah, women! The eternal muses, the divine vessels of inspiration. They are the mirror of beauty, the reflection of chaos, and the spark that ignites the flame of genius in men like myself. Like my Gala, a woman’s true power lies in her ability to inspire, to provoke the deepest emotions, and to awaken the sleeping genius within the artist. But despite what Julia might think, they are not creators! They disrupt this delicate balance—they become competitors in a realm where they should reign as queens of the subconscious. A woman, when she paints, attempts to tame the wildness within her, but in doing so, she diminishes her true nature. No, let them be muses! Let them be the force that drives men to madness and glory, to create masterpieces that would not exist without their presence.

Crystal King: But surely, you must acknowledge the contributions of women artists like Frida Kahlo or Leonora Carrington?

Dalí: Ah, Frida! A woman of pain, of suffering—her art is born from her wounds. And Leonora, with her wild visions! They are rare jewels with a brief glint in the sun. But even they, in their brilliance, are more muse than master. Frida’s art is a testament to her own torment. And Leonora’s work? A dreamscape, yes, but one that still plays within the shadows cast by the masculine sun. They are unique, but in the grand theater of art, women are the curtains, the stage, the light—never the playwright.

Crystal King: Your views are certainly provocative. Speaking of provocations, let’s talk about another of your passions—food. You’ve curated extravagant dinners, and your 1973 cookbook, Les Dîners de Gala, is legendary. What is it about food that captivates you so?

Dalí: Food, my dear Crystal King, is the most sensual of the arts! It is a celebration of life itself, a symphony of taste, texture, and aroma. Each meal is a work of art, ephemeral yet unforgettable. Just as a painting captures a moment in time, a dish captures a moment of pleasure, of indulgence. The act of eating is the most direct connection between the physical and the spiritual—it nourishes the body, excites the senses, and, when done right, can elevate the soul.

Crystal King: Can you share some of your favorite dishes? Perhaps ones that might feature in a dinner inspired by your cookbook?

Dalí: Ah, Les Dîners de Gala! A feast for the senses! There are so many dishes that excite the imagination, but if I must choose… let me see. I have a particular fondness for Snail Saltimbocca, liver-stuffed fried snails—a dish that embodies the luxury of decadence. And then there is avocado toast with almonds, lamb brain, and tequila! And topped with a delightful fried egg stuffed with goose rillettes. Mmm!

Crystal King: Your passion for food is palpable. I understand that you have many meals planned during your stay in Bomarzo. What do you hope your guests experience during one of these lavish dinners?

Dalí: I want my guests to transcend the ordinary, forget the mundane world outside, and lose themselves in the opulence of the moment. Each dish is a doorway to another world, a taste of the surreal. A Dalí dinner is not just about food—it is about theater, about spectacle. I want them to taste the colors of the sunset, to feel the textures of the ocean, to hear the music of the stars as they dine. It is an experience that lingers in the mind long after the last bite has been savored.

Crystal King: It sounds like dining with you would be an unforgettable experience. How does this passion for food connect to your work as an artist?

Dalí: There is no separation between art and life, between the canvas and the table. Just as I blend reality and dreams in my paintings, I blend flavors and textures in my dishes. Both are an exploration of the senses, a quest for the sublime. The act of creation—whether it is a painting or a dish—is an act of rebellion against the ordinary, a way to impose one’s will on the chaos of the world. Through food, as through art, I seek to create my own reality, one that is richer, more vivid, and more delicious than the world we are given.

Crystal King: Your perspective is both fascinating and unique, Mr. Dalí. Thank you for sharing your thoughts with us today. I’m sure our readers will be intrigued by the world as seen through your eyes.

Dalí: The pleasure is mine! Remember, the world is not what it seems—it is what you make of it. And in the end, it is the dreamers, the artists, the madmen who truly understand this. Now, if you’ll excuse me, I must return to my work—the canvas calls, and my muse, my Proserpina, is waiting to be captured in her full glory.

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Crystal King is the author of In The Garden of Monsters, The Chef’s Secret, and Feast of Sorrow, which was long-listed at the Center for Fiction’s First Novel Prize and designated as a MassBook Awards Must Read. A social media and AI professor by trade, her writing is fueled by a love of history and a passion for the food, language, and culture of Italy. Crystal has taught writing, creativity, and social media at Harvard Extension School, Boston University, and GrubStreet. A Pushcart Prize-nominated poet and former co-editor of Plum Ruby Review, she holds an MA in critical and creative thinking from UMass Boston. You can find her at crystalking.com.

Tags: featured, women writers

Category: Interviews, On Writing