This chapter sheds light on the uses of modern alchemical discourse by three artists and writers who were affiliated with surrealism: British-born artist Leonora Carrington, British artist and occultist Ithell Colquhoun, and Greek poet and critic Nanos Valaoritis. All three writers experimented with the potentialities of alchemical language, writing novels premised upon esotericism and myth in terms of imagery, plot, and sensibility: The Stone Door (1977) and The Hearing Trumpet (1976) by Carrington; Goose of Hermogenes (1961) and I Saw Water (2014) by Colquhoun; From the Bones Rising (1982) and Xerxes’s Treasure (1984) by Valaoritis. Influenced by several strands of the alchemical discourse, Carrington, Colquhoun, and Valaoritis resorted to ideas corroborating the transgression of the dominant Enlightenment concept of the unified rational subject, and utilized them as subversive tropes in their revision of hegemonic body politics. In this revision, identity constitution is conceptualized as a process that is open-ended, non-teleological, and performative. The chapter charts these corporeal cartographies, shedding light on the three writers’ appropriations of alchemy in their writing practices; it shows that the alchemical genre primarily functioned as a platform for the exploration of performative manifestations of identity and contributed to fecund redefinitions of the novel.