Life is an entanglement of lies to hide its basic mechanisms | William S. Burroughs

From The Place of Dead Roads

by

William S. Burroughs


Kim is a slimy, morbid youth of unwholesome proclivities with an insatiable appetite for the extreme and the sensational. His mother had been into table-tapping and Kim adores ectoplasms, crystal balls, spirit guides and auras. He wallows in abominations, unspeakable rites, diseased demon lovers, loathsome secrets imparted in a thick slimy whisper, ancient ruined cities under a purple sky, the smell of unknown excrements, the musky sweet rotten reek of the terrible Red Fever, erogenous sores suppurating in the idiot giggling flesh. In short, Kim is everything a normal American boy is taught to detest. He is evil and slimy and insidious. Perhaps his vices could be forgiven him, but he was also given to the subversive practice of thinking. He was in fact incurably intelligent.

Later, when he becomes an important player, he will learn that people are not bribed to shut up about what they know. They are bribed not to find it out. And if you are as intelligent as Kim, it’s hard not to find things out. Now, American boys are told they should think. But just wait until your thinking is basically different from the thinking of a boss or a teacher…You will find out that you aren’t supposed to think.

Life is an entanglement of lies to hide its basic mechanisms.

Kim remembers a teacher who quoted to the class: “If a thing is worth doing at all it is worth doing well…”

“Well sir, I mean the contrary is certainly true. If a thing is worth doing at all, it is worth doing, even badly,” said Kim pertly, hoping to impress the teacher with his agile intelligence. “I mean, we can’t all become Annie Oakleys doesn’t mean we can’t get some fun and benefit from shooting…”

The teacher didn’t like that at all, and for the rest of the school year singled Kim out for heavy-handed sarcasm, addressing him as “our esteemed woodsman and scout.” When Kim couldn’t answer a history question, the teacher asked, “Are you one of these strong, silent men?” And he wrote snippy little comments in the margins of Kim’s compositions: “Not quite as badly as that,” viciously underlining the offending passage. At the end of the term the teacher gave him a Β — for the course, though Kim knew fucking well he deserved an A.

To be sure, Kim was rotten clear through and he looked like a sheep-killing dog and smelled like a polecat, but he was also the most ingenious, curious, resourceful, inventive little snot that ever rose from the pages of Boy’s Life, thinking up ways of doing things better than other folks. Kim would get to the basic root of what a device is designed to do and ask himself, Is it doing it in the simplest and most efficient way possible? He knew that once an article goes into mass production, the last thing a manufacturer wants to hear about is a better and simpler article that is basically different. And they are not interested in a more efficient, simpler or better product. They are interested in making money.

When Kim was fifteen his father allowed him to withdraw from the school because he was so unhappy there and so much disliked by the other boys and their parents.

“I don’t want that boy in the house again,” said Colonel Greenfield. “He looks like a sheep-killing dog.”

“It is a walking corpse,” said a Saint Louis matron poisonously.

“The boy is rotten clear through and he stinks like a polecat,” Judge Farris pontificated.

This was true. When angered or aroused or excited Kim flushed bright red and steamed off a rank ruttish animal smell.

And sometimes he lost control over his natural functions. He took comfort from learning that partially domesticated wolves suffer from the same difficulty.

“The child in not wholesome,” said Mr. Kindhart, with his usual restraint. Kim was the most unpopular boy in the school, if not in the town of Saint Louis.

“They have nothing to teach you anyway,” his father said. “Why, the headmaster is a fucking priest.”

“Long, Too Long America” — Walt Whitman

Creator — Neo Rauch

Schöpfer (Creator), 2011 by Neo Rauch (b. 1960)

ABC No Rio — Dan Witz

ABC No Rio, 2011 by Dan Witz (b. 1957)

Double Self-Portrait — Egon Schiele

Double Self-Portrait, 1915 by Egon Schiele (1890–1918)

Four Books (Barthelme, Burroughs, and Barry [Hannah])

If you follow this blog even semi-regularly, you may know that I frequently frequent Chamblin Bookmine. This sprawling bookstore, with an inventory of close to three million books (mostly used, and often very weird), is about a mile from my house, and in some small ways might constitute a mute coauthor of this blog. I don’t get to their second location, Chamblin Uptown (in downtown Jacksonville) that often, and even less during the last few years (for obvious reasons), but I went downtown to watch my nephew wrestle last Sunday, and stopped by. In addition to a pair of Ishmael Reed massmarket 1970s paperbacks, I fetched a small stack of first-edition hardbacks by Donald Barthelme, William Burroughs, and Barry Hannah.

I was thrilled to find a first-edition of Donald Barthelme’s first novel Snow White (Atheneum, 1970), with a jacket by Lawrence Ratzkin. The cover sans jacket is also nice:

Overnight to Many Distant Cities isn’t Barthelme’s best collection, but I couldn’t pass up a first edition (G. P. Putnam’s Sons, 1983). The cover features a photograph by Russell Munson.

So far this year, William S. Burroughs’ late novel Cities of the Red Night has been a reading highlight for me: apocalyptic, utopian, discursive, funny, and more poignant than I had remembered when I first read it two decades ago. I couldn’t pass up on a first-edition of its sequel, The Place of Dead Roads (Holt, Rinehart, and Winston, 1983) with a jacket by Robert Reed (working from an old uncredited photograph). I found an audiobook of Dead Roads at my local library, so I might give that a shot.

 

I also grabbed a signed copy of Barry Hannah’s semi-autobiography, Boomerang (Houghton Mifflin, 1989), with a cover by one of my favorite designers, Fred Marcellino. Here’s the autograph:

Marcellino also did the cover for another signed Hannah I have, Captain Maximus (wait, is this Five Books?):

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Feliz Pacuas (Happy Easter) — Lee Lippman

Feliz Pacuas (Happy Easter), 1989 by Lee Lippman (b. 1949)

Read “Love on the Bon-Dieu,” an Easter story by Kate Chopin

“Love on the Bon-Dieu”

by

Kate Chopin

from Bayou Folk (1894)


 

Upon the pleasant veranda of Père Antoine’s cottage, that adjoined the church, a young girl had long been seated, awaiting his return. It was the eve of Easter Sunday, and since early afternoon the priest had been engaged in hearing the confessions of those who wished to make their Easters the following day. The girl did not seem impatient at his delay; on the contrary, it was very restful to her to lie back in the big chair she had found there, and peep through the thick curtain of vines at the people who occasionally passed along the village street.

She was slender, with a frailness that indicated lack of wholesome and plentiful nourishment. A pathetic, uneasy look was in her gray eyes, and even faintly stamped her features, which were fine and delicate. In lieu of a hat, a barege veil covered her light brown and abundant hair. She wore a coarse white cotton “josie,” and a blue calico skirt that only half concealed her tattered shoes.

As she sat there, she held carefully in her lap a parcel of eggs securely fastened in a red bandana handkerchief.

Twice already a handsome, stalwart young man in quest of the priest had entered the yard, and penetrated to where she sat. At first they had exchanged the uncompromising “howdy” of strangers, and nothing more. The second time, finding the priest still absent, he hesitated to go at once. Instead, he stood upon the step, and narrowing his brown eyes, gazed beyond the river, off towards the west, where a murky streak of mist was spreading across the sun.

“It look like mo’ rain,” he remarked, slowly and carelessly.

“We done had ’bout ‘nough,” she replied, in much the same tone.

“It’s no chance to thin out the cotton,” he went on.

“An’ the Bon-Dieu,” she resumed, “it’s on’y to-day you can cross him on foot.”

“You live yonda on the Bon-Dieu, donc?” he asked, looking at her for the first time since he had spoken.

“Yas, by Nid d’Hibout, m’sieur.” Continue reading “Read “Love on the Bon-Dieu,” an Easter story by Kate Chopin”

Elizabeth Sewell’s The Orphic Voice (Book acquired, 12 April 2022)

Elizabeth Sewell’s 1960 work The Orphic Voice is getting a new edition this summer from NYRB. Their blurb:

Taking its bearings from the Greek myth of Orpheus, whose singing had the power to move the rocks and trees and to quiet the animals, Elizabeth Sewell’s The Orphic Voice transforms our understanding of the relationship between mind and nature. Myth, Sewell argues, is not mere fable but an ancient and vital form of reflection that unites poetry, philosophy, and natural science: Shakespeare with Francis Bacon and Giambattista Vico; Wordsworth and Rilke with Michael Polanyi. All these members of the Orphic company share a common perception that “discovery, in science and poetry, is a mythological situation in which the mind unites with a figure of its own devising as a means toward understanding the world.” Sewell’s visionary book, first published in 1960, presents brilliantly illuminating readings of A Midsummer Night’s Dream and Rilke’s Sonnets to Orpheus, among other masterpieces, while deepening our understanding not only of poetry and the history of ideas but of the biological reach of the mind.

Check out my Personal Anthology featuring Southern literature

For about five years, the writer Jonathan Gibbs has curated a project called A Personal Anthology, where guest editors offer up a dozen short stories. Sometimes the anthologies are Greatest Hits, sometimes they’re personal favorites or central to the development of the editor’s own writing, sometimes they’re themed. Jonathan was kind enough to invite me to edit this week’s Personal Anthology. Putting it together was much, much harder than I had expected it would be, but once I imposed a limit on myself —namely “Southern literature” — the tracklist came together neatly. You can read my Personal Anthology here.

Here’s the introduction:

I live in Florida, and although I’m not a native, I consider myself a Southerner. “The South” is a nebulous, diverse, and perplexing region in the United States of America, often romanticized, vilified, ridiculed, championed, and misunderstood. It’s difficult to define exactly where the South begins and ends. Georgia, Alabama, and Mississippi are the South, but what about Kentucky or Missouri? Texas is the South, but at some point, it also becomes the West. A common joke is that Florida stops being the South the farther south one goes into Florida. The boundaries are murky.

So too is so-called “Southern literature” hard to pin down. The great Georgian moralist Flannery O’Connor declared that “anything that comes out of the South is going to be called grotesque by the Northern reader reader, unless it is grotesque, in which case it is going to be called realistic.” Here I think we might let the word “Northern” stand for any reader not from the South. O’Connor imbued her work with grotesque distortions to bring “alive some experience which we are not accustomed to observe every day, or which the ordinary man may never experience in his ordinary life.”

In compiling this Personal Anthology, I have sought to offer up a dozen tales from/of the nebulous, dirty, fecund South that bring unaccustomed experience to life for the reader.

See which stories I picked.

Tall Boy — Matt Bollinger

Tall Boy, 2021 by Matt Bollinger (b. 1980)

The Apparition — Antonio López García

The Apparition, 1963 by Antonio López García (b. 1936)

“The Coahoma County Wind Cults” — David Berman

“The Coahoma County Wind Cults”

by

David Berman


My dream walked on four legs
toward the remote source
of a pale yellow letter

only to circle around the cabin
when it got there.

A black and white cave rainbow
arched between two old shoes.

Oxygen bounced off the face of a doll,
looking for the slow dazzling guts
of a life form.

There was a moment of sudden clarity
when the pages of burned in opera glasses,

like a herd crossing zip codes

or an exhausted idea pressing
at the limits of the marquee bulbs,

my dream pushes air.

Untitled — Norbert Schwontkowski

Untitled, by Norbert Schwontkowski (1949-2013)

Four Books (By Ishmael Reed)

Seven years ago I came across three lovely 1970s mass market paperback Ishmael Reed novels. In the years since then, I’ve consumed most of Reed’s novels, even picking up an undervalued signed copy online. Two of my favorite Reed editions are from Avon Bard. This past Sunday, I came across two more Reed Avon Bard editions, and snapped them up, despite already owning them in hardback. While no designer or artist is credited, the signature on this edition of Flight to Canada clearly says “Andrew Rhodes”:

I’m pretty sure that Rhodes is the artist (and possibly designer) of the other Avon Bard Reeds I picked up years ago, Mumbo Jumbo

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—and Yellow Back Radio Broke-Down (the signature is clear on this one):

 

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We can also see “Rhodes” on the copy of The Last Days of Louisiana Red I picked up on Sunday. (This book also has the stamp of a guy who lives (lived?) in Perry, Florida, a stamp I’ve come to recognize over the years as a guy who, at least at one point, had very similar taste to my own. I have a lot of his old books and I wonder about him sometimes.)

Here are some reviews I’ve written of Reed’s novels over the past few years:

A review of Ishmael Reed’s sharp satire The Last Days of Louisiana Red

Blog about Ishmael Reed’s 1976 neo-slave narrative Flight to Canada

A review of Yellow Back Radio Broke-Down, Ishmael Reed’s syncretic Neo-HooDoo revenge Western

A review of Ishmael Reed’s Christmas satire, The Terrible Twos

Blog about Ishmael Reed’s novel Juice! (Book acquired, 10 Dec. 2019)

Once, I was talking to Herman Melville. He said, “I’m writing book called Moby-Dick” | Gilbert Gottfried

RIP Gilbert Gottfried, 1955-2022

“Occurrence on Washburn Avenue” — Regan Huff

“Occurrence on Washburn Avenue”

by

Regan Huff


Alice’s first strike gets a pat on the back,
her second a cheer from Betty Woszinski
who’s just back from knee surgery. Her third—
“A turkey!” Molly calls out—raises everyone’s eyes.
They clap. Teresa looks up from the bar.
At the fourth the girls stop seeing their own pins wobble.
They watch the little X’s fill the row on Alice’s screen—
That’s five. That’s six. There’s a holy space
around her like a saint come down to bowl
with the Tuesday Ladies in Thorp, Wisconsin.
Teresa runs to get Al, and Fran calls Billy
at the Exxon. The bar crowds with silent men.
No one’s cheering. No one’s bowling now
except Alice’s team, rolling their balls
to advance the screen around to Alice, who’s stopped
even her nervous laugh, her face blank and smooth
with concentration. It can’t go on
and then it does go on, the white bar
reading “Silver Dollar Chicken” lowering and clearing
nothing, then lowering and clearing nothing again.