William Burroughs – Page 22

Zimbu Xolotl Time

Or The Wild Boys revisited. These are two of Emma Doeve’s Wild Boys paintings from the Academy 23 book which was published in October by WhollyBooks to coincide with the recent London event remembering and celebrating The Final Academy, a William Burroughs-themed series of events held in London and Manchester in 1982. I’ve mentioned before that the book contains an edited version of my post about the event at Manchester’s Haçienda club. The book is now sold out but I expect some copies will find their way into the secondhand market eventually. Had Emma’s pictures been around a year ago I would have included them in my post about The Wild Boys and the various music and art inspired by Burroughs’s novel. They’re also a reminder that I ought to finish my own Wild Boys portfolio which has languished this year while I’ve been engaged with other things, not least finishing the Reverbstorm book. Something for the future, then. As for Zimbu Xolotl Time, Phil Hine can explain.

Elsewhere on { feuilleton }
• The William Burroughs archive

Weekend links 135

Two Grove Press covers by Roy Kuhlman. From Arden Kuhlman Riordan’s Pinterest page collecting her father’s cover designs.

• “When people asked me what boylesque was, I’d say I’m doing burlesque and I have a penis,” said Mr. Ferguson.

• Sequence5: 42 tracks of new, atmospheric/ambient music. A free download in a variety of formats.

• The trailer for Jimmy’s End, the forthcoming film by Alan Moore and Mitch Jenkins.

As a porn performer, I can say from experience and with confidence that I’ve never been objectified by other performers. Nor have I been objectified by viewers. At least not in a way that seemed to confuse them into thinking I was an object. What happens instead is that I shift in and out of object-hood. Athletes do this too—they engage with their bodies for a specific task. At the end of the game or the shoot, the context changes.

Conner Habib on The Virtues of Being an Object

• Secret Weapons (1972), David Cronenberg’s lost TV movie resurfaces.

• Joseph Burnett reviews Nude, the new album by The Irrepressibles.

• Over a third of e-readers are used just once before being set aside.

The guarded, the cautious, the small-scale, the modest, the well-crafted—such books may be rewarded (in our own time, at the national level), but they are rarely preserved. They are not preserved because guardedness, caution, smallness, modesty, and craft can be replaced in any given generation. What is irreplaceable is excess: Of verbal kinesis, religious intensity, intellectual voracity.

Amit Majmudar on Entertainment and Excess: The Great Literary Audiences

• Miniature Book Interviews with Louis Wain Bound by Hand.

• A Tour Inside Salvador Dalí’s Labyrinthine Spanish Home.

• Horror fiction should be deep, not cheap, says Nina Allan.

• RIP Peter Kuhlmann aka Pete Namlook

• More is More by Alex Trochut

• The Useless Web

• Lost In The Sea (1992) by Sequential (Pete Namlook & DJ Criss) | Angel Tech (1994) by Bill Laswell & Pete Namlook | Yenlik (Part II) (1996) by Burhan Öçal & Pete Namlook

Weekend links 132

La Hora del Fantasma (no date) by Joaquim Pla Janini.

• Many of the art links featured here are tips from Thom Ayres, so it’s only right to point to his new album project which he’s funding through Kickstarter and embellishing with his own nature photography.

• Anne Billson is another writer beguiled by Philippe Jullian’s masterwork, Dreamers of Decadence. And thanks to Ms Billson for drawing attention to the insane opening of Crime Without Passion (1934).

• Does this fake ad for The Necronomicon use one of my Cthulhu pictures? Possibly. Get the picture for yourself in this year’s Cthulhu calendar. (My thanks to everyone who’s bought a copy so far.)

To break the ice, I talk about books: he is delighted to discover that I have read his beloved Denton Welch, also J. W. Dunne’s An Experiment With Time. I have found them in my old school library, and know both have been a tremendous influence on him in different ways. Knowing of his interest I also mention that I have just read Colin Wilson’s The Quest For Wilhelm Reich, published the year before. He likes Wilson, he says, jokes that “the Colonel” with his cottage in Wales in Wilson’s Return of the Lloigor and his own Colonel Sutton-Smith from The Discipline of DE are one and the same. On something of a roll, I mention Real Magic by Isaac Bonewits, and he acknowledges that it has “some good information” – but is much more enthusiastic about Magic: An Occult Primer by David Conway [years later I would discover that Burroughs & Conway had in fact exchanged letters on various subjects pertaining to magic, occultism, and psychic phenomena – but that is decidedly another story!]

Matthew Levi Stevens recalls The Final Academy and an encounter with William Burroughs thirty years ago.

• Locomotif: A short survey of trains, music & experiments: Gautam Pemmaraju on Kraftwerk, Pierre Schaeffer, Luigi Russolo and others.

• A flip-through of The Graphic Canon, volume 2. Wait to the end and you’ll see a couple of my Dorian Gray pages. Imprint has a review of the book.

• Julian Bell reviews two new books about Romantic painter Caspar David Friedrich.

• Alan Moore talks to The Occupied Times about art, education and anarchism.

• Colin Dickey reviews Vilém Flusser’s Vampyroteuthis Infernalis: A Treatise.

Las Parcas II (1930) by Joaquim Pla Janini.

• Michael Newton reviews A Natural History of Ghosts by Roger Clarke.

• Golden Age Comic Book Stories revisits the work of Sidney Sime.

• Front Free Endpaper asks “What’s in an inscription…?”

• Mormon Missionary Positions

• Amateur Aesthete

• Ghosts (1981) by Japan | Ghosts (2008) by Ladytron | Ghosts (2012) by Monolake.

Weekend links 127

M15, The Whirlpool Galaxy photographed by Martin Pugh. The overall and deep space winner of Astronomy Photographer of the Year, 2012.

• The Final Academy, the series of William Burroughs-themed events that took place in London and Manchester in 1982, will be celebrated at the Horse Hospital, London, on 27th October. Academy 23, a publication edited by Matthew Levi Stevens, will include my report on the Manchester Haçienda performances.

• “Architects are the last people who should shape our cities,” says the thrillingly pugnacious Jonathan Meades in a piece from his new writing collection Museums Without Walls. Andy Beckett reviews the book here.

• Ex-Minimal Compact singer/bassist Malka Spigel talks about her new album, Every Day Is Like The First Day, which can be streamed in full here.

What’s new about the current acknowledgments page is that it’s unsolicited—it appears like an online pop-up ad, benefiting no one but the author and his comrades. This is surely why these afterwords are often so garrulously narcissistic and strewn with clichés. The most radical experimentalist adheres to the most mindless acknowledgments-page formula; the most stinging social critic suddenly becomes Sally Field winning an Oscar.

Sam Sacks at the New Yorker on the blight of novelists’ acknowledgments pages. DG Myers at Commentary Magazine piles on.

• Another streaming album: Composed by Jherek Bischoff. Try Insomnia, Death & The Sea featuring Dawn McCarthy.

• Film of Lindsay Kemp being interviewed in 1977 about his production of Salomé.

• Electronic Performers (2004): a video by Machine Molle for the song by Air.

One of a series of Beardsley-like drawings by Djuna Barnes posted at Strange Flowers. The resurgent Ms. Barnes is mentioned three times in this Terry Castle review of All We Know: Three Lives by Lisa Cohen.

• Fictitious Dishes, meals from novels photographed by Dinah Fried.

• Life, the Dinosaurs & Everything: Cosmicomics by Italo Calvino.

• The Baby Died: Morbid Curiosities found in Old Newspapers.

• Portishead’s Adrian Utley gives a tour of his synth collection.

• Minimal Compact: Babylonian Tower (1982) | Not Knowing (1984) | When I Go (1985) | Nil Nil (1987).

Weekend links 125

Coronal Mass Ejection from the surface of the Sun, August 31st, 2012.

• “Most of the main parts were recorded in a single day using Vangelis’s famous technique: try to play as many synths as possible at once.” Simon Drax on the prolific musical output of Zali Krishna. The new Krishna opus is Bremsstrahlung Sommerwind, free to download at the Internet Archive.

• The Northants International Comics Expo (N.I.C.E.) opens on September 22nd. Among the many attendees there will be Mr Alan Moore making his first convention appearance since 1987.

• “Isolated for one night in a boat overlooking the Thames, Geoff Dyer explores representations of reality through the lens of Joseph Conrad’s Heart of Darkness.”

Now seems the right time to revisit this secret archive of public broadcasting. It’s an antidote to the celebrity-led, format-driven nature of so many arts documentaries made today. It shows that it’s possible to produce TV that is both populist and experimental. And it also refutes the cliché that the 1970s was a decade only of crisis and downturn. “Feminism, political theatre, Ways of Seeing: I wasn’t thinking, ‘what a terrible time’. It was very dynamic, activist, political. Creatively it was very exciting. Yet all they show on those television retrospectives are episodes of Top of the Pops.”

Sukhdev Sandhu talks to Mike Dibb, the director of Ways of Seeing.

• From 1999: Colm Tóibín reviews A History of Gay Literature: The Male Tradition by Gregory Woods.

• What We See: a song by Julia Holter & Nite Jewel with a film by Delaney Bishop & Jose Wolff.

• Rick Poynor on The crash test dummy: from subcultural fringes to pop culture mainstream.

In his 1973 book on Joyce, Joysprick, Burgess made a provocative distinction between what he calls the “A” novelist and the “B” novelist: the A novelist is interested in plot, character and psychological insight, whereas the B novelist is interested, above all, in the play of words. The most famous B novel is Finnegans Wake, which Nabokov aptly described as “a cold pudding of a book, a persistent snore in the next room.” The B novel, as a genre, is now utterly defunct; and A Clockwork Orange may be its only long-term survivor.

Martin Amis on A Clockwork Orange, fifty years on. My old post about the film’s record shop scene continues to be one of the most popular pages here.

• Wild Boys: David Bowie and William Burroughs in 1974, hand-coloured by DB.

• Alfred Kubin‘s illustrations for Haschisch (1902) by Oscar AH Schmitz.

• Revolution off: industrial ruins photographed by Thomas Jorion.

• Tetrahedra of Space: 22 pulp illustrations by Frank R. Paul.

• The Blue Boy Studiolo: a Tumblr.

• Marina Warner visits Hell.

• The art of Casey Weldon.

• RainyMood.com

• Third Stone From The Sun (1967) by The Jimi Hendrix Experience | Sunrise In The Third System (1971) by Tangerine Dream | 3rd From The Sun (1982) by Chrome.