A hiatus of disinterest | Burroughs meets Beckett (again)

I recall a personal visit to Beckett. John Calder, my publisher and Beckett’s, was the intermediary for a short, not more than half an hour audience. This was in Berlin. Beckett was there directing one of his new plays. Allen Ginsberg, Susan Sontag and myself were there for a reading. Also present in the visiting party were Fred Jordan and Professor Hoellerer, a professor of English literature at Berlin University.

Beckett was polite and articulate. It was, however, apparent to me at least that he had not the slightest interest in any of us, nor the slightest desire to ever see any of us again. We had been warned to take our own liquor as he would proffer none. So we had brought along a bottle of whisky. Beckett accepted a small drink which he sipped throughout the visit. Asking the various participants first what Beckett said, and what the whole conversation was about seems to elicit quite different responses. Nobody seems to remember at all clearly. It was as if we had entered a hiatus of disinterest. I recall that we did talk about my son’s recent liver transplant and the rejection syndrome. I reminded Beckett of our last meeting in Maurice Girodias’ restaurant On this occasion we had argued about the cut-ups, and I had no wish to renew the argument. So it was just ‘yes’, ‘Maurice’s restaurant’. Allen, I believe, asked Beckett if he had ever given a reading of his work. Beckett said ‘No’.

There was some small talk about the apartment placed at his disposal by the Academy: a sparsely furnished duplex overlooking the Tiergarten. I said the zoo was very good, one of the best, with nocturnal creatures in dioramas, like their natural habitat. They even have flying foxes. Beckett nodded, as if willing to take my word for this. I think there was some discussion of Susan Sontag’s cancer. I looked at my watch. Some one asked Allen or Fred for the time. We got up to go. Beckett shook hands politely.

From William S. Burroughs’ essay “Beckett and Proust.” Collected in The Adding Machine. 

There were a number of these antivaccination cults, a self-limiting phenomenon | William S. Burroughs

Kim remembers his first adolescent experiment with biologic warfare. Smallpox was the instrument, the town of Jehovah across the river, his target. Their horrid church absolutely spoiled his sunsets, with its gilded spire sticking up like an unwanted erection, and Kim vowed he would see it leveled.

It was dead easy. The townspeople were antivaccinationists…”polluting the blood of Christ,” they called it. Around the turn of the century there were a number of these antivaccination cults, a self-limiting phenomenon since all the cultists contracted smallpox sooner or later.

So Kim simply jogged the arm of destiny, you might say, by distributing free illustrated Bibles impregnated with smallpox virus to the townspeople of Jehovah. The survivors moved out. Kim bought the land and used the church to test his homemade flamethrower. He found the plan in Boy’s Life…a weed killer, they called it. Well, rotten weeds, you know…

From The Place of Dead Roads by William S. Burroughs.

May Day — Julie Heffernan

May Day, 1997 by Julie Heffernan (b. 1956)

Osprey’s Nest — Neil Welliver

Osprey’s Nest, 1980 by Neil Welliver (1929-2005)

Burning House, Night, with Fireman — Lois Dodd

Burning House, Night, with Fireman, 2007 by Lois Dodd (b. 1927)

Well, Well, Well (Chiffon in Green) — Dominic Chambers

Well, Well, Well (Chiffon in Green), 2020 — Dominic Chambers (b. 1993)

 

Game planet | William S. Burroughs

This is a game planet. All games are hostile and basically there is only one game, and that game is war. Research into altered states of consciousness — which might result in a viewpoint from which the game itself could be called into question — is inexorably drawn into the game. One of the rules of this game is that there cannot be final victory since that would mean the end of the war game. Every player must believe in final victory and endeavor to attain final victory with all his resources. In consequence all existing technologies are directed towards producing total weapons that could end the game by killing all players. Is there any way out of this impasse of national security at the expense of global insecurity? Certainly a prerequisite for any solution would be for all countries to put all their top secrets right on the table.

From “Mind War,” collected in The Adding Machine. 

Studio — Benny Andrews

Studio, 1967 by Benny Andrews (1930-2006)

The ecological crisis cannot be resolved by politics | Joy Williams

The ecological crisis cannot be resolved by politics. It cannot be resolved by science or technology. It is a crisis caused by culture and character, and a deep change in personal consciousness is needed. Your fundamental attitudes toward the earth have become twisted. You have made only brutal contact with Nature; you cannot comprehend its grace. You must change. Have few desires and simple pleasures. Honor nonhuman life. Control yourself, become more authentic. Live lightly upon the earth and treat it with respect. Redefine the word progress and dismiss the managers and masters. Grow inwardly and with knowledge become truly wiser. Think differently, behave differently. For this is essentially a moral issue we face, and moral decisions must be made.

From Joy Williams’ essay “Save the Whales, Screw the Shrimp.” Collected in Ill Nature.

Front Yard Things — Peter Uka 

Front Yard Things, 2020 by Peter Uka (b. 1975)

Life Wants to Live — Phil Hale

Life Wants to Live, 2014 by Phil Hale (b. 1963)

The Uncollected Essays of Elizabeth Hardwick (Book acquired, 25 April 2022)

NYRB has collected the uncollected essays of Elizabeth Hardwick and published it as The Uncollected Essays of Elizabeth Hardwick. Thirty-five essays, out in late May. NYRB’s blurb:

The Uncollected Essays of Elizabeth Hardwick is a companion collection to The Collected Essays, a book that proved a revelation of what, for many, had been an open secret: that Elizabeth Hardwick was one of the great American literary critics, and an extraordinary stylist in her own right. The thirty-five pieces that Alex Andriesse has gathered here—none previously featured in volumes of Hardwick’s work—make it clear that her powers extended far beyond literary criticism, encompassing a vast range of subjects, from New York City to Faye Dunaway, from Wagner’s Parsifal to Leonardo da Vinci’s inventions, and from the pleasures of summertime to grits soufflé. In these often surprising, always well-wrought essays, we see Hardwick’s passion for people and places, her politics, her thoughts on feminism, and her ability, especially from the 1970s on, to write well about seemingly anything.

Carmencita Playing — Antonio López García

Carmencita Playing, 1960, by Antonio López García (b. 1936)

“Noah’s Raven” — W.S. Merwin

“Noah’s Raven”

by

W.S. Merwin


Why should I have returned?
My knowledge would not fit into theirs.
I found untouched the desert of the unknown,
Big enough for my feet. It is my home.
It is always beyond them. The future
Splits the present with the echo of my voice.
Hoarse with fulfillment, I never made promises.

Bisclavret — Walton Ford

Bisclavret, 2022 by Walton Ford (b. 1960)

Kou Machida’s Rip It Up (Book acquired, 15 April 2022)

So I got into Kou Machida’s short novel Rip It Up last night. This Japanese novel (original title, きれぎれ [Kiregire]) gets its first English translation, via Daniel Joseph and Mercurial Editions, a new translation imprint from Inpatient Press. This is how the publisher describes Rip It Up:

Set in a kaleidoscopic hyperreal Japan circa Y2K, Rip It Up catalogues the misdeeds and misgivings of a down-and-out wannabe debonair who ekes out a meager living at the fringes of the art world, wracked by jealousy at his friend’s success and despondency of his own creative (and moral) bankruptcy. In turn hilarious and also horrifying, Machida’s pyrotechnic prose plumbs the discursive depths of the creative spirit, a head-spinning survey of degeneration and self-sabotage.

Machida’s psychedelic punk prose takes a few pages to tune into. The (as-yet?) unnamed narrator’s voice is tinged with madness and soaked with vitriol for the conformist society he can’t seem to get out of. He’s a rich kid, a lout, and a bum, obsessed with Satoe the horse-headed girl. Her head isn’t really a horse’s head; rather, it’s a mask she’s wearing when he first runs into her at a drunken Setsubun party at the “panty bar” where she works. He’s stumbled in after getting drunk at his friend’s funeral. The scene Machida conjures is simultaneously vile, hallucinatory, and hilarious, with salarymen and “little people gotten up to look like Fukusuke dolls” crashing about the place in a bizarre karaoke showdown. The narrator takes the mic, belting out malapropisms that synthesize and parody the lyrics of Western pop songs:

It’s not unusual to hi-de hi-de hi-de-hi

You’re as chaste as ice

And baby we were born to nun

Rollin’, rollin’, rollin’ on Moon River

Any way the lunch grows, doesn’t really matter

A few pages later, the narrator still pines for the horse-headed girl, spending all his money at the panty bar. He has to go visit his rich mother for a “loan,” but she makes him embark on a stolid omiai, a marriage interview, which he torpedoes by declaring to the prospective partner and her dour mother “exactly what kind of person I am”:

That I spend all my free time at the panty bar. That I dropped out of high school. That I’m a spendthrift. That I’ve got my head in the clouds and I’ve never done an honest days work in my life because I despise hard work. That’s all.

I’m digging Rip It Up so far; it’s alienating, self-indulgent stuff. Daniel Joseph’s translation conveys a desperate, stuffy world, and shows how linguistic resistance might puncture stifling conformity. More thoughts to come. Check out Kou Machida’s seminal punk band Inu,