James Grauerholz met budding filmmaker Howard Brookner at Phebe's Bar & Grill in Manhattan during the Great Blizzard of 1976. Brookner lived around the corner from the Bunker and he and Grauerholz soon became fast friends, working on film-writing projects.
In 1978, Burroughs was preparing a return to New York City from Boulder, Colorado, where Bill Burroughs Jr. had been hospitalized. "I had talked Howard into covering the upcoming Nova Convention in September," Grauerholz remembers. "He and I and Jim Jarmusch, who was doing sound, went to Boulder to film William leaving for New York. During the coverage of the Nova Convention, William and Howard became great personal friends."
Their friendship led to close collaboration on Brookner's insightful 1983 documentary film, Burroughs: the Movie, and to Brookner's 1987 feature film, Bloodhounds of Broadway. Howard Brookner died of AIDS at age 34 in 1989.
In the 1990s, Howard's nephew, Aaron, took up the family filmmaking mantle. That story is told below. "Aaron's resemblance to Howard is truly eerie," says Grauerholz. "They even sound alike."
On February 5, 2014, during a wailing blizzard, Aaron Brookner and his film crew visited the Burroughs house in Lawrence, Kansas.
- B100: A brief history of Aaron Brookner.
- Brookner: I grew up in Greenwich Village. Howard Brookner, my uncle, started my interest in movies from an early age, showing me how to use a video camera and taking me to the set of his last movie, Bloodhounds of Broadway. A year after Howard's death from AIDS in 1989, my father moved us to New Jersey.
I majored in film at Vassar College. For a senior documentary class I made a short doc on the Federation of Black Cowboys - a group of black cowboys in Brooklyn who have a ranch, do rodeos and ride through the city streets promoting the history of America's black cowboys. One in three cowboys in the Old West was black but they were never represented. This group was trying to correct it.
The writer Budd Schulberg (On the Waterfront, What Makes Sammy Run?), had seen The Black Cowboys at a festival and really liked it. He was 91, we got along well and I started making a film on his life inspired, obviously, by Howard's first film on William Burroughs.
Schulberg was covering fights in Las Vegas, co-writing a Joe Louis/Max Schmeling script with Spike Lee and touring France with a newly adapted version of one of his lesser-known novels, Sanctuary V. I started traveling with him, filming him, interviewing him and many of his contemporaries like Patricia Neal, Tony Curtis, Christopher Plummer and Arthur Laurents. I interviewed Eva Marie Saint and met Karl Malden. The film came crashing down when Schulberg died at age 95.
I had been making music videos and experimental work and then a low-budget fiction feature shot in London called The Silver Goat which we put out in 2012 as an app. We wanted to explore alternate modes of distribution. The app has been downloaded in twenty-four different countries and was a top entertainment seller in the UK and the Czech Republic.
Having made my first feature film I started thinking more about Howard, wondering about his films and where they had gone. Especially his Burroughs film, Burroughs: the Movie, which I had only ever seen on VHS and, in recent years, in low-resolution on YouTube. It had been such an influence on me, watching it hundreds of times through high school. I wanted to see it properly and wanted others too as well. Also, I wanted my uncle Howard's name not to be forgotten so I set out to bring back his work.
- B100: A brief history of your project to date.
- Brookner: My film started when Sara Driver and I started talking about Burroughs: the Movie. She was a great friend of Howard's; they were at film school together at NYU. All the elements to Sara's first film, an adaptation of Paul Bowles' You Are Not I, had been destroyed in a flood. Then a pristine print was miraculously discovered in Tangier after Paul Bowles' death. She was able to make a new HD master from it and show it again, release it, and know that it existed properly! I set out to do the same for the Burroughs movie, looking for the negative.
In my search I connected with James Grauerholz; Sara, of course, and also her partner Jim Jarmusch (who did sound on Burroughs: the Movie); the writer Brad Gooch (Howard's longtime partner); and, to an extent, John Giorno.
Everyone wanted to see the movie come back, everyone helped me on my search. It turned up all sorts of things like Howard's home movies, behind-the-scenes footage of his other films, video diaries, short films, writings, audio tapes, tons of photos and the missing film prints from his second feature documentary on Robert Wilson. Along the way, the stories that came from those who knew my uncle were full of life, adventure, and humor. His story began taking shape cinematically in my mind.
I found a really chilling letter he wrote to his parents to be read after his death, telling them he had AIDS, that he was dying and would die, but that he didn't want them to let it ruin their lives because, while it was short, Howard had done exactly what he wanted with his life. He went as far as he could go and in the end felt content. He wrote that if he lived on it was in our hearts and memories and the films he made. I was very pleased when this actually started happening.
The biggest discovery occurred when I was able to retrieve Howard's archive which had been stored in the Bunker for 30 years. These were some 200 cans and boxes of outtakes that didn't make his 90-minute cut---but they were beyond outtakes. They were an incredible documentation of a place and time, downtown NYC from 1978-1983, as seen through the world of William Burroughs.
In the raw material you get the source of the tone of the movie, intimate and playful and comfortable to watch. The source is Howard directing the movie. You can see him slating, or Jarmusch, hear his questions, his dialogues with William when the camera is still rolling though they aren't "on." James Grauerholz is always there. It feels like a real family.
In a storage container belonging to Brad Gooch, I found an audiocassette interview of Howard by Ted Morgan. Morgan asks Howard about the last shot of his film, where William and James Grauerholz are sitting on the back porch in Lawrence, and William in the back yard, and why he ended the film there. Howard said it was his intention to go back and continue the film in two more chapters: William's life in Lawrence; and William's funeral. Howard didn't get a chance to do this, of course.
For the Burroughs centenary I was shooting in St. Louis and Lawrence, picking up the story for 2014. Some very interesting things happened. There's a lot of magic going on right now, fittingly, in this centenary year, which is also the year Howard would have turned 60. I still have plenty to go through but I've begun assembling some of the material, hoping to translate some of this magic into the cut.
- B100: Describe a magic moment.
- Brookner: Last week I got into a cab in NYC with my film crew. The driver asked us what we were shooting. I said a documentary about Howard Brookner and William Burroughs. He knew Burroughs and we started talking about him.
He called Burroughs an activist through his art. Turned out the driver was a native New Yorker who had been into the downtown poetry scene in the late 1970s. In 1978 he attended the Nova Convention. At this point he started to look familiar to me. I photographed him, then compared the image later to that of a teenager in the audience of the Nova Convention from Howard's movie. Just a cutaway, but one Howard used obviously because the guy looks super-engaged. Sure enough--same nose, same eyes, same expression---it was the driver! This cutaway is even in the trailer we just made for the film.
Had I gotten to the corner of Center Street and Kenmare one minute later or one minute sooner I'd never know this guy existed. Instead, an overlap in time and a conversation about Burroughs and the Nova Convention started my day. Everything is pre-recorded except the pre-recordings indeed.
Part Two, coming soon.
Interview by Tom King
Like a lot of this prior to email and texting business…this one starts with a phone call from Woody Creek, Colorado into Burroughs Communications office in Lawrence, KS.
NOTES FROM WBC - Watching a Grown Man Cry… HST visits WSB. Gonzo Goat Fuck.
By Jim McCrary
Coulda been mid 1990’s. And it was either Hunter or his ‘assistant’ whose name might have been Laura. The question was, “Would it be a good time to visit Bill Burroughs?” That was not an unusual request at the office. Lots of folks wanted to visit WSB and some of them actually took time to call and ask questions. Most all of them were deflected with the reply that Mr. Burroughs was too busy at the moment to have visitors. Truth be told he had enough visitors whom he wanted to see to keep him occupied.
So………..HST…..wanted to come visit. He would have to drive over since he wanted to bring lots of guns and ammo to share. How long would the drive be? 10 hours maybe….all on I70 interstate. Get on….get off. Get a room at the Eldridge Hotel in Lawrence. I think he and William talked it over on the phone. William was fine with all that…..and since Dr. Thompson was asking only for some time together….it seemed to William that it would be a good thing. And, in the end it was. Indeed.
So the date was set and off they went. Down the hill from Owl Farm and into the flatland of western Kansas. We expected them to call in a couple of days when they got to town. Nothing happening for a while. Then finally a call: "We haven’t left yet. Had to clear some things up, maybe leave Friday." The call came on Friday. "We're gonna leave Monday." And they did.
And I think four days later…”We're here at the Eldridge. Car broke down somewhere west of Salina. Dry county. Garage didn’t have the part. Paid a fortune for grease monkey to go get the part. Luckily had enough booze and coke to survive. Awful place. Stopped in Salina to watch Final Four playoffs. More later.”
(The story later told and I cannot do justice…believe me…Hunter stops in Junction City to watch a ball game at sports bar after getting car repaired and replacing booze stash. He watches the game in usual style and interacts with off-duty army personnel from nearby base. Ready to head out, he reaches for the keys on the bar….not there. “Where the motherfuck are my keys, you redneck assholes???” says Dr. Thompson. Says the barkeep…”I have them, sir, and you are in no condition to drive. Sir.” Imagine that…..dear reader…..just for a moment imagine that. As is often said in such stories…cooler heads prevailed…things were ‘settled’ and off they went. Who drove? Don’t know.)
That evening I went to Eldridge Hotel to pick them up. As I approached the desk to ask the room number, the concierge looked up and pointed at the elevator and mumbled 402. He looked exhausted.
When the door opened to the room a blast of hot steam escaped into the hallway. The assistant had the shower running full blast with hot water to steam out the wrinkles of a dress. His Gonzoness had the basketball game on full blast and all surfaces in the room were covered with dishes of food, drink and papers scattered around. He had obviously wound up the staff of the hotel and spent the morning moving from one room to another and had finally settled down. For the moment.
We spoke about the schedule for next couple days. Tonight, dinner at a local restaurant and then a short visit with Bill. Tomorrow a full day at the range, shooting. Dinner at Williams house. Drive back to Colorado. What could go wrong with that?
It took a while to get them out of the hotel room. We walked a bit around downtown Lawrence. It was pretty quiet. Thompson asked me where his old buddy and fellow sportswriter George Kimball hung out when he lived in Lawrence. I pointed out some of the spots where he used to hang, including the bridge where Kimball threw bricks of marijuana into the river during a press conference when he (and HST in Colorado), was running for office.
We finally settled at a patio table at an Italian place near William's home. It didn’t take long for the servers to figure out who they were serving and a never-ending group of them grazed around the table asking if we needed anything. Thompson was most happy to suggest something new that was needed. In the midst of all that he somehow managed to let slip off his lap a Skoll tin half-full of exceptional cocaine onto the concrete floor. I immediately joined him under the table in a valiant attempt to help clean up the mess best we could using the doubled v credit card method. Quickly done and actually applauded by one of the co-ed servers. Food flying around and across the table, pitchers of margaritas floating past…the evening continued.
We left soon enough and managed the final few blocks to Williams’s house. And then something amazing happened. Dr. Thompson switched gears. The minute he walked into the house his demeanor, his energy, his self became as quiet and attentive as a student before the master. Hmmm.
Well, there was the smoke and drink of course. The ur and not ur. The this and that. The how are you and all that. Yes. All that. And there they were. Across the table from one another. Mumble this and mumble that. Quiet. Then done. William had announced that it was his bedtime…and that was accepted by the company. As was his habit, William stepped out onto his front porch and waved a goodbye.
I went home and I do believe that Dr. Thompson continued his evening over a fresh batch of coke at the offices of the local alt newspaper after leaving the Burroughs residence. Later reports from friends indicated that the Doctor held forth for quite a while in the office above the Bottleneck club. As he was.
The big day arrived. And it would be fuck all. Another goat fuck for sure. The entourage grew and grew. Usually it was William and his old buddy George Kaull, a fellow geezer libertarian and crack shot. The two of them…some pot, some vodka and coke, some ‘snacks’ and a sack full of guns and ammo. Go out shoot, have a drink and smoke to steady the hand, shoot some more. Eat some cheese and crackers or whatnot. Have a drink and smoke. Shoot some more.
However, this time with HST it was lots more action. A video camera was unloaded and Miss Thing was told by Hunter to set up halfway between the targets and the shooters. William stopped that at once. No way would the young lady film beyond the firing line…which, by the way, moved around as the day progressed.
And there were others with aims to make or shots to take…some friends and handlers and who knows by now. Hunter was wound up and after the first round of shots from William and George with their favorite pistols and someone shooting a shotgun…Hunter announced the big surprise he had talked about since his arrival…the gift he had brought for William.
He pulled out a large wooden box that had an American flag embossed on the walnut. Opened it up and there in purple velvet lay a Freedom Arms, one-of-a-kind, 454-caliber pistol with all the goodies. A marker on the box proclaimed this was one of a hundred, if memory serves. And by the way, a 454-caliber gun has a hole in the end of the barrel the size of your big toe. The gun was admired and passed around. Hunter dug into the back of his transport for the ammo and then dug some more and then some more and then starting howling and throwing shit on the ground.
“Motherfucker….mothergoddamfucker shit my ass!!!!!!!!! WHERE THE FUCK IS THE AMMO!!!” Well, it wasn’t there. Gonzo was fucked and sat slumped on the tailgate looking a lot like he was ready to break into tears.
And then a friend of Bill's who was a shooter and a hunter and a photographer and a local says: “Well shit, I'll just run over to Topeka and get some 454.”
“They won’t have any, you stupid fuck,” Hunter said.
“Oh,” the guy said, ” I do believe they will.” And off he went and in the time it takes to empty a handy 44 Colt or a 38 S&W snubbie or a vodka and coke….he was back and the fun began.
Hunter was happy and pleased with himself and loaded up the 454 and handed it to WSB who looked it over, walked a bit closer to the target, hoisted it up and pulled the trigger. Motherfuck indeed. It did back him up at least five feet and when the smoke cleared there was a rivulet of blood tricking down Williams thumb and wrist. “Son of a bitch bit me,” said William giggling. He loved it. And shot it again and passed it around. Hunter was happy. Again. He had brought the old man a gift and the old man thanked him. The afternoon wore on in the noise and smoke and crash of lead into wooden targets and Kansas dirt clods turned to atoms.
(Aside to Johnny Depp or anyone who might know or has Thompson’s archives and/or belongings. Somewhere there should be a video tape of this trip. I once asked HST biographer Doug Brinkley to poke around for it but he never had any luck. Too bad.)
And that is that. The day ended with drinks and food at William's but I don’t remember. Hunter did hire a couple guys to drive his car back to Woody Creek. He and the friend flew from Kansas City back home.
I don’t know if that was the only or the last time those two were together. It was good time spent. Both would agree. Well spent. Indeed.
That was then.
[Jim McCrary lives in Lawrence, KS and worked at William Burroughs Communications for a decade beginning early 1990s. Misses the old man to this day. Every day.]
John Waters is an American film director, screenwriter, author, visual artist, musicologist and comedian. His many credits include 19 films, nine books and a retrospective of his artwork at the New Museum in 2004. Once reviled for his transgressive and hilarious 1970s cult films--Pink Flamingos, Female Trouble and Desperate Living (the Trash Trilogy)--several of Waters' later films achieved significant mainstream success, with Hairspray (1988) and Cry Baby (1990) adapted to hit Broadway musicals.
Waters frequently socialized with William S. Burroughs during the Bunker years in the Seventies. Burroughs, "The Pope of Dope," dubbed Waters "The Pope of Trash," a moniker he wears with pride to this day. Waters is featured in the 2010 documentary, William S. Burroughs: A Man Within.
On February 20, 2014, Waters brought his one-man stage show, This Filthy World, to the Lawrence Arts Center (LAC), part of a series of events related to the exhibition William S. Burroughs.Creative Observer, opening January 17, 2014.
The interview was conducted on October 23, 2013 by Ben Ahlvers, LAC Exhibitions Director, and Tom King. Recorded by Marlo Angel.
John Waters: I'm no authority on William Burroughs but I can tell you what I know.
I grew up loving William Burroughs. The first thing I wanted to be was a beatnik so what's the first book you have to read? Junky, basically. I can't remember if I read Junky or Naked Lunch first. I was real young, in junior high. I liked William way more than Allen Ginsberg--I wasn't much of a hippie, I was more of a yippie.
I met Burroughs at his place in New York, in the Bunker. I loved going there, he had these great social events. William Burroughs always looked like he was 100 years old. He would serve warm vodka in washed-out peanut butter jars. No ice. I always snuck a look at his bedroom. I saw him also at the 930 Club where I played a lot. He took me to crazy parties in New York sometimes, parties with really strange people. He was always very nice to me and I think James Grauerholz had a lot to do with that.
He branded himself; he always had that look. He kept one look his whole life, which is very important to do. He was gay and a junkie and didn't look the parts. I never thought he was politically incorrect: he wasn't racist, he wasn't homophobic. He had that signature voice--he should have done animation voice in Hollywood. I also love the fact that he obsessively went for Scientology at first. And then turned against it.
LAC: Did Burroughs inform your work?
Waters: Wouldn't you say the singing asshole in Pink Flamingos has something to do with Naked Lunch? When I first read him I knew that he was in a secret world, a pervert that wasn't upset about it. He was a proud pervert. Very old school, way before gay liberation, even though he ways always out. He scared gay people because they were so square then and he was so cool. But everyone liked him in a weird way. I mean, did anyone ever give William Burroughs shit for being gay? I can hardly imagine him getting gay-bashed.
LAC: What are your thoughts on his artwork?
Waters: Well, its tough. As you know, the art world hates celebrities that do art. They are incredibly suspicious of it. I saw his artwork way later. I love the idea of drawing with guns, thats so William Burroughs. I'm surprised he didn't use needles. He was doing all the things that were in his novels but on canvases in an art gallery. It seemed like a logical extension of what he always did.
LAC: Where do you think Burroughs' work fits into the art world today?
Waters: I'm not sure. He certainly has a stronger place in literature than he does in the art world. I think a lot of people in the art world don't even know about Burroughs' art, to be honest. So I think its great you're doing this show. Maybe a lot of people that only know his books will discover his art. The centenary is the perfect time to bring out work that people don't know. The only time I ever saw his artwork was at the show in Los Angeles [Ports of Entry, 1996, LACMA] . It was a huge show. I don't remember the critical reaction but I always thought Burroughs was beyond criticism. Does he care? Actually, you care more as you get older but you get better at pretending you care less.
LAC: Why does Burroughs matter culturally, in the big picture?
Waters: He matters culturally because he lasted six or seven decades. He stayed true to himself--he started as a beatnik and he ended as a beatnik. An incredible, eccentric character who looked normal. He never changed for anybody, never answered his critics, and continued to be avant-garde--a word that most people feel is a dirty word today.
LAC: One of the things I learned from this project is that Burroughs was making visual art all along the way and not really talking about it or showing it.
Waters: So he always was and we just didn't know it? I'm trying to remember seeing his art when I was in the Bunker but I was usually just looking at him. I was just so excited to be there.
LAC: How old were you then?
Waters: In the 70s, and I was born in 1946. I wasn't a kid. But he was such a part of my life when I was a kid, when I was forming who I was going to be, that he was definitely a hero.
LAC: Did you find him prescient or prophetic about modern society?
Waters: I don't know if he'd like those descriptions. I think he was a salesman. He was the Exterminator. He was the one that came at you with a formed literary vision that no-one had ever seen before. And he did not suffer fools. He didn't answer his critics and he didn't give in to trying to be commercial. Naked Lunch is commercial in spite of itself.
LAC: Why do you think he became a counter-culture hero in the Seventies?
Waters: Because he was so original. Everybody read his books, especially when you're a young kid trying to rebel. I wasn't reading Salinger, I was reading Jean Genet and William Burroughs. As a young gay man, I thought, "Finally, a gay man who isn't square." That was very influential, to realize that there really was a Bohemia. Didn't matter if it was gay or straight, I just wanted to be in Bohemia because I lived in Lutherville, Maryland then. Burroughs was my imaginary friend.
LAC: You wrote a book about contemporary art...
Waters: I wrote one a while ago called Art: A Sex Book. And I just finished my new book, Carsick, because I hitch-hiked by myself across America last year. I got stuck in Bonner Springs [Kansas]. It was the very worst place of my entire trip, a nightmare. I waited 10 hours there without getting a ride. Finally, a nice guy who worked at the Lawrence Wal-Mart picked me up.
LAC: The talk we've got you scheduled for at LAC is on February 20th, 2014. It's being billed as This Filthy World but any Burroughs insights like these would be well-received.
Waters: I'll work it in. I look forward to coming to William Burroughs' place. Its like a pilgrimage.
100 years ago today, William S. Burroughs was born in St. Louis, Missouri. Times have changed but his ideas and influence continue to shape our world. In a talk last weekend, James Grauerholz described William's message as "having a verrry long fuse". As we experience government espionage, environmental destruction, the fight for media control, a very real Nova Mob and those who OCCUPY the streets in protest, Burroughs' work gives myriad insight. So let's celebrate the man and his legacy by reading/viewing/listening to his works. Here's a few to get started. Happy birthday, William!
What do I have to say?
You have been lied to, exploited, cut off from your birthright.
"Sons of shame and sorrow,
will you cheer tomorrow?
Sons of toil and danger,
--and bow down to the Alien Grays?
(who don't know emotion, we'll help them to know it.)
Can we ever look each other in the face?
I am willing. Are you?
Give me the answer to a question, I tell what the question was.
Nobody but a fool wants to know what the secret of the universe is.
Or thinks that he could understand it
One thing: It is not out there, dead, to be discovered--but out there alive, to be created.
So many minds I can look into. Sample, feel, experience.
I want to know the all, from conception to death. The final Comedie Humaine.
"Counsellors and all that shit."
"You crazy or something, walk around alone?"
"It ain't bothering you is it?"
William S. Burroughs
Journal Entry, May 26, 1997
Last Words, Grove Press 2000
"I am attempting to create a new mythology for the space age. I feel that old mythologies are definitely broken down and not adequate at the present time. In this mythology, I have Nova conspiracies, Nova police, Nova criminals. I do definitely have heroes and villains with respect to overall intentions with regard to this planet."
-WSB in a 1964 interview
"I tell you nothing could get through that blockade. . . nothing
. . . but here it is . . . the White Cat."
A radiant cat glowing with a pitiless white light,
light on secret files and ops,
light on directives and memos, light everywhere.
No corner of darkness left.
Power shrivels and turns to dust in the light.
excerpt from The Western Lands, Viking Penguin 1987
Willam S. Burroughs, Ghost Escape, Paint and Shotgun Blasts on Plywood, 1982
Image Copyright Estate of William S. Burroughs
He was drifting throughs space, wafted by currents of glowing gases -- Myriads of floating forms passed in front of him some familiar and others alien -- For a moment he was back in the brown canals of Mars in the grip of a giant clam, which takes a week to satisfy its consuming sex habit and spits out its unfortunate victim covered with its discharge like a gelatinous pearl on the dry red sands --
Thousands of voices muttered out of the darkness, twittering creatures pulling and tugging at him and dancing their way leaping from soaring black heights into deep blue chasms trailing the neon ghost writing of Saturn through vast wells of empty space -- From an enormous distance he heard the golden hunting horns of the Aeons and he was free of a body traveling in the echoing shell of sound as herds of mystic animals galloped through dripping primeval forests, pursued by the silver hunters in chariots of bone and vine --
from The Ticket That Exploded, new edition coming in March from Grove Press
B100: When did you meet Burroughs?
Propst: I had been introduced to him in social situations a few times but the first time we were alone together was in early 1981. William hadn't moved here yet, he was still scouting houses. James [Grauerholz] brought him to visit my farmhouse north of town one afternoon.
William and I went walking in a field behind the house and he was showing me a pistol he was carrying. It was a LINK Harrison & Richardson 22-caliber revolver, what they call an H&R Flip-Top. He gave me that gun later on.
There was a clump of weeds about 20 feet from where we were standing. William said, "I'll bet you five dollars I can hit those weeds." It wasn't a particularly tough shot but I said OK. William took aim and sheared the weed off at the base, a clean shot. He was a skilled shooter. He turned and looked at me. "Good shot," I said. No response, he just looked at me. Then I realized he was waiting for his five dollars, so I forked it over. "Thank you, Wayne," he said. Not long after that he moved to town.
Eventually I learned that he was my teacher and I was his student. It wasn't just a one-way street, but I was often a facilitator.
Propst: We did this at Fred Aldrich's place. I had a piece of 3/8th-inch plexiglass over the front of the box, to slow down the bullet and to keep the paint spatter somewhat contained. There was a can of spray paint in the box with a shooting target fixed dead center on the can. William got close, about 10 feet. We found out later he hit the can exactly on the seam, so the whole box exploded and the plexiglass became shrapnel. William shouts, "I'm hit!" Some plexiglass had grazed his hand, a minor injury. We took him in the house and while he was being bandaged he said, "If there is no blood, there is no art." In a way, he loved that he got hit. It was exciting, we pushed the edge.
Propst: He picked up his magazines at a local newsstand, long gone now, called The Town Crier. Knife stuff, Guns & Ammo, Cat Fancy… He had subscriptions to some of the scarier magazines not always available at the newsstands, like American Handgunner.
He really liked carefully made knives--he must have had 50 folding knives. I don't know how many times he cut himself demonstrating the sharpness of his knives. It happened all the time. He used to cut pieces of paper and the pieces would get smaller and smaller. That's when he cut himself, usually the index finger. He took pain well.
I went over one day to show him my latest treasure: an expensive, Italian-made stiletto. He loved it. He flicked it open a few times, brandished it, then put it in his pocket. "Thank you, Wayne," he said. I had no intention of giving him that knife. That's when I knew he was the master and I was the student.
"To make the round shapes, he would take a suction cup, dip it in ink, then smear it across the paper."
© Wayne Propst
Propst: William liked to discuss his art in process. He would point to an area in a painting: "See the boy being chased by the demon? There's the boy, there's the demon."
The front bedroom was his art room. There was a bed in there too, for guests, mostly Ginsberg. He had a set of old metal bed springs propped on the south wall. He would clip his paintings on them to dry or display. Every painting had a story. I would knock, open the front door: "I'm here to fix the sink, Bill." He would call from the art room, "In here. Come see."
Propst: It says April 1986 but thats when I finally got the film developed. I'm positive this picture is from Christmas Day, 1985.
B100: How do you know?
Propst: William's gold tie. He wore it every Christmas. This was Christmas dinner at LINK David Ohle and Sue Brousseau's house. Jennifer, David's step-daughter at the time, got the doll for Christmas. She asked William if he would like to feed her doll. "Yes, I would," said William. He was a polite man. Note the cigarette and vodka Coke in front of him. So William is feeding the doll for a while and he says to Jennifer, "You know, I think there's something wrong with your baby. It doesn't look quite right. This arm is misshapen…" Jennifer knew William pretty well. She said, "That's enough," and took the baby away.
Propst: The viewing was at a funeral home on Massachusetts Street. It was closed to some degree, not a free-for-all. Laid-back, not too solemn. Lots of people were kissing William in his coffin. Giorno was doing deep meditation, very reverent. William had a snubbie in his jacket.
This was when it really sunk in that he was dead. I saw him dead at the hospital but this was different. I knew he wasn't going to snap out of it.
This interview for Burroughs 100 was by Tom King, who resides in and takes care of, with extreme prejudice, William S. Burroughs's house in Lawrence, Kansas. Previously on Burroughs 100 Tom interviewed James Grauerholz see
and Philip Heying
-  "If you had to, you could eat a bowling ball."
- Wayne Propst at Review KC http://ereview.org/2010/09/22/reality-my-way/
In the first of a series Burroughs 100 talks to a phoptographer who photographed William S. Burroughs. The kicking off this new series is Philip Heying
Born 1959 in Kansas City, Philip Heying (pronounced "High-ing"), moved to Lawrence in 1977 to study painting at the University of Kansas. Through his friends John Lee and Karl Gridley, he met Burroughs' manager, James Grauerholz. In 1980, Heying was introduced to Burroughs.
MYSTICAL CANDY SKULL
Interview with photographer Philip Heying
Heying: In 1980, Grauerholz organized a talk at KU with John Cage, Ginsberg and Burroughs. Afterwards, we all went to Hawk's Crossing. Ginsberg hit on me, Grauerholz hit on me, everybody was drinking, happy, fucked up. A group of us students used to have a regular supper club back then and we went all out on those things, blew the budget. When William first moved to town he was always looking for a free meal so he would join us sometimes. After a while, James OK'd me and I got to go visit WIlliam at home.
B100: Did that elevate your cool on campus?
Heying: Those KU girls didn't care. The William ticket did not get you a date.
B100: How was the first meeting?
Heying: I was intimidated, anxious. I've been completely intimidated by three people in my life: William Burroughs, Brion Gysin and Irving Penn. And they were all perfect gentleman; gracious, friendly, supportive. William was a very polite man, a good listener and got a kick out of showing off his new guns, knives and eccentric weapons.
An amateur photographer for most of his life, Heying forsook painting for photography in 1983. He graduated with a BFA in Painting from KU the following year.
B100: Was there one picture that convinced you to become a professional photographer?
Heying: The revelation came in Lawrence, 1983. That's when I started to think of myself as a photographer, taking it seriously as an art form and committing to it. I was waiting at a railroad crossing and there were these mythological-looking black dogs sniffing around. Then the train rushed by. I took two pictures that became a diptych, those dogs and the train. The verbal description doesn't do the picture justice. It got lost when I moved back from Paris. It had a surprising, haunted quality...
B100: What was your first photo hit?
Heying: I had moved to Paris and married a French woman. After a little over a year of struggling in Paris, she decided to get her PhD in Biochemistry at KU. We moved back to Lawrence in 1986. I got a job at the Hollis Officer Studio in KC, and a little after that started shooting for Borderline magazine. When Leary was in town James agreed to help me try to get some pictures of William and Tim together, over breakfast, Friday, March 13, 1987. I got there at 7.45am. William had shared his methadone with Leary and they had already smoked some weed, so they were very high, very talkative, very funny and obviously very fond of each other. They had eggs and toast, I think. I hung out for about two hours.
Leary was leaving for the airport, his ride was waiting. I had the wrong camera, the wrong film… a skin-of-the-teeth shot. But it turned out fine. It seemed to work that way with William. On the way out, Leary said "I like your style" and gave me his address.
B100: Did you become an official WSB photographer?
Heying: Sort of. In a very respectful sense, always on William's terms. He usually asked me, or we both sensed it was the right time, to take a picture. Didn't happen often; I wasn't snapping pictures left and right. I knew him for 17 years and I have five portraits of him. Only one is a candid shot.
Heying: It was about 4:30pm. We had been fooling around with art and pictures* for most of the afternoon and it was time for happy hour. William was very high. He got extra-high to come up with titles for his paintings.
I had just finished one of his brutal vodka Cokes so I was pretty loaded myself.** I was putting my gear away and I turned around and saw this scene. I immediately unpacked my gear, praying he would stay there long enough for me to frame the picture and shoot. I got just enough time for one single exposure. As I said, it seemed to work out with him.
B100: What about Fletch the cat?
Heying: Fletch knew he had it good. He had William wrapped around his black little paw. He wasn't very affectionate toward strangers; he and William had a private bond. Fletch was a one-person cat and William was his person. He never let William get too far away. Prince of the house. He got fat when he was older. There was a three-year stretch when I had not seen Fletch and then next time I visited he was three times the size he was before. I said: "Fletch! Good lord, what happened! You've turned into Elvis!" William, a bit huffy, replied: "I think he's more like Orson Welles."
Heying: I came for an early dinner on Halloween with Bernard and Francoise Heidsieck. There was a traditional spooky face carved on the pumpkin on the other side of the porch, but William's hatchet job was really horrifying. It was the most intense jack-o-lantern I had ever seen so I asked William to pose beside it. You can tell by how the pockets of his jacket are sagging that he was carrying several weapons. He really was a dangerous guy.
Allen was visiting. He and William had decked out the front room for the trick-or-treaters. Jose Ferez-Kuri [Burroughs' art dealer] had brought a dozen huge candy skulls from Mexico and William and Allen had set up a display of the skulls, just inside the front door, and all kinds of candy on the table. We had a nice dinner but no trick-or-treaters. At 7pm, past prime kid time, William was pacing. He was depressed that no-one showed up.
Around 7:15, they started coming. About 10 kids rang the bell, greeted by William Burroughs and Allen Ginsberg. You can see part of Allen in the picture, in the doorway. A couple of kids were dressed like Bob Dole. William spoiled all those kids rotten: showered them with candy, doted on them, posed for pictures… He was the model--if heavily armed--neighbor. Those kids went away with life-sized, mystical candy skulls in their bags, given to them by William S. Burroughs.
Philip Heying is currently an Adjunct Professor of Photography at Johnson County Community College in Kansas City. He was the featured artist at the Land Institute's annual PrairieFest this year and his photographs are in the collection of the Nelson-Atkins Museum. His photographs have been published in the New York Times, International Herald-Tribune, Liberation, Le Monde, Velo News, Art in America, Conde Nast Traveler, Penthouse and Rolling Stone.
* Burroughs asked Heying to collaborate on visual projects. Here is an excerpt from Heying's essay for the catalog of "Creative Observer," the multi-media Burroughs show opening January 18, 2014 at the Lawrence Art Center:
"After his dear friend Brion Gysin died in the early summer of 1986, William began making paintings in earnest. Not long after that he asked me to help him use photographic techniques in creating visual analogies to cut-up recordings. …I would come over to his house in late mornings. He always had his materials ready. He always offered to get me high and I always deferred until we were finishing up. The first time I came by he asked me to shoot macro detail slides of some of his favorite parts of pieces he was working on. “Do you see that fox, right there, coming out of those bushes?” he would ask, pointing at a swirl of color on wood. Even though I wasn’t the slightest bit high yet, I could nearly always see exactly what he described."
**Four fingers vodka, one finger Coke.
By Tom King 10/10/13
The Burroughs Guy: An interview with James Grauerholz by Tom King
James Grauerholz is heir and executor of the estate of William S. Burroughs-maestro of the Beats, writer of "Naked Lunch," international queer, academic junkie, wife-shooter, Harvard graduate, an undeniably American artist. Grauerholz lived 30 years with Burroughs. Street Level joins Grauerholz in a booth at Pachamama's for a moseying reminiscence of Burroughs and the Beats...
A brief history of James Grauerholz...
Grauerholz: I'm a Kansas boy from Coffeyville. Came here to KU in the late '60s, went off to New York in the early '70s. Began working with William Burroughs in 1974 and continued until he passed away in '97. Came back to Lawrence in 1979 and here you find me now.
You were responsible for bringing William Burroughs to Lawrence.
(laughs) Responsible? Am I to credit or to blame? It seemed like a good idea at the time. I left New York because I'm not down with glamour-the whole phenomenon of celebrity and fame, and how distorting that is to the famous individual's life. And even though I have some responsibility-or credit, or blame-for helping make William more famous, I got fed up with how delusional people become with their mental image of Burroughs, someone that they have to talk to.
What did you do to enhance Burroughs' fame?
Again, I don't know how much credit I can take. When he came back to the United States in January 1974 : he had pretty much been in London for 14 years or so.
When he got back to New York, he was in the category of: "Oh, him? Is he still alive?" Burroughs' fame was not recent in 1974. Only a few people really noticed that he had come back. He came back to do a semester's residency at CCNY (City College of New York)-Allen Ginsberg fixed him up with this appointment. It was a bit of money-which he needed-and it was a bit of work, and engagement with younger people, and so forth. It was also a getaway from London. I guess Allen had decided, in his opinion, that William's life in London was kind of a dead-end. William was drinking a lot, and he was preoccupied with Piccadilly Circus-they're called Dilly Boys, you know: hustlers. I mean, he had relationships too, but:
He was partying hard.
He was. It sounds funny to say about William Burroughs, but he was a disciplined person. He did work hard to write every day. But sometimes he was working too hard, and the writing wasn't : it became formulaic. He himself thought he was in a dead-end.
Here's a story you might like: When I met William, I had been given his number to make a dinner date by Allen Ginsberg-I had just arrived in New York, in February 1974. I had met Allen a year before on a visit to New York. I had written fan letters to each of them back in '72 from here in Lawrence. So Allen said: "Burroughs is here [in New York]." And I didn't even know it when I headed to New York. I was 21 at the time. I was excited to meet him. Ginsberg knew that I was a fan of Burroughs foremost of all the Beats and that I was a self-educated scholar of the Beats and their writings, and their lives. So I went over to meet William, and, when you look back on it, everything started up very quickly. We went out to dinner and had drinks. I visited again with him in a few days. And it was in a couple of weeks or less that he invited me to stay with him in the loft at 452 Broadway that he was subletting from the late painter Michael Balog. It was a huge loft. : So it turned out that I became William Burroughs' roommate. And we were very close-that was my domicile for a couple of months. Here are two anecdotes:
City College is way up in Washington Heights-Upper West Side. And to get there on the subway William had to get up at o'dark-thirty. Of course, he drank every night. He drank chilled Dewar's scotch and chilled soda-no ice. So I would sleep in, of course. Actually, I was working-I don't remember how many days a week-at Gotham Book Mart. Andreas Brown had hired me, just one of many young cataloguer types that Andy Brown helped. But I would sleep in when I could and I remember William coming back from Washington Heights and saying: "I feel like bitching you out, because here you're sleeping while I have to get up and get my ass out of here at six in the morning." Then he added: "But I realize I'm the one whose job it is, not you."
And the other anecdote is:
He once told me that he thought his : how did he put it? I'd like to get it right : He thought his talent was gone; he couldn't write another real book.
To you, who were the Beats?
Ginsberg, [Jack] Kerouac and Burroughs, not necessarily in that order. The friendships they formed, and the circle that coalesced around them at Columbia in '43, '44 and '45-during World War II-was a serendipitous combination of social backgrounds, of ethnic and cultural backgrounds. They self-consciously intended to start a school, or a movement, or a literary wave.
Why are they called Beats? "We are the Beat Generation"-Kerouac was the one who popularized that, though John Clellon Holmes was probably one who shares credit in coming up with it. Herbert Huncke, the junkie raconteur, probably was the pathway of that expression into their circle. It's a street expression: "Man, I'm really beat"; or "A guy walked in with a beat bennie"-which means his overcoat is really worn out; or "He beat me for my change"-which means he took the money and went into the place to see the dealer and went out the back door of that hotel, never to be seen again. Or beat as in "beat down"-there are acres of speculation about what it means and where it comes from. And then, of course, Kerouac famously ex post facto comes in and says: "Well, it's beat like 'beatitude.' It's beatified, it's a beatification."
Around Christmas of 1943, they all have met-and I'll spare you the begats and how they actually connected-but they met from three different worlds. Ginsberg was 17, from Paterson, New Jersey, and Jewish-an intellectual with strong labor-lawyer, socialist leanings: his Communist mother Naomi Ginsberg, and so forth. Kerouac was from Lowell, Massachusetts. He was Catholic, of French-Canadian extraction, and his early literary influences would certainly include Thomas Wolfe-that would be the kind of thing he was trying to do. Ginsberg was 17, Jack was 21 and William was about to turn 30, in February 1944. He was considerably older. ...
Burroughs invented what became known as the Beats. He was the main vector of what went into that-and I don't mean to minimize the contributions of Kerouac and Ginsberg, or any of the wider circle of arguably Beat-termed people. But William had a classical education: he was a graduate of Harvard, he'd done graduate studies in Vienna-well, that was kind of laughable-in medicine, and at Harvard in anthropology, and at Columbia in psychology. He brought to the table the left-handed path in Western letters and philosophy. He brought the Voltaire, the Jonathan Swift, the Petronius Arbiter-The Satyricon-Thomas Nashe-The Unfortunate Traveller-and, of course, Shakespeare by the yard.
Burroughs studied under Kittredge and Lowe at Harvard, major scholars of Shakespeare and Chaucer. He brought this left-handed path: satire and : sort of like the book of Ecclesiastes-it stands out from all the other books in the Bible because it basically says: "You know all that stuff about human nature being basically good, or at least perfectible? Hogwash." Human nature, apparently-at least on the record-is wicked and contemptibly stupid. And that's amusing, in a bitter way-what later was called black humor.
In what ways did the Beats influence or impact American letters?
Let me say first that I have a little problem with the concept of "the Beats." They really are so different in the end. They were only grouped together by factors like their own deliberate self-legendarization-they were legends in their own minds. They had the vanity and the grandiosity of youth. Immortality, ambition-they weren't aware of the limitations of life. American letters at the time were in the condition where any change would be in the direction of freedom-any change.
Were you a fan of Burroughs' writing, initially?
I stumbled across "Naked Lunch" at the age of 14. And it wasn't the first bitingly satirical, black-humorish thing I had read, but it was far and away the best. I loved it. It changed my life. I knew it was changing my life as I read it.
Later in life, Burroughs became a kind of patron saint to a certain breed of rock and roller: Patti Smith, Michael Stipe:
There was a time when Burroughs was just Burroughs. The time when that changes is November 1959, when Life Magazine comes out with their article about the Beats, which they called "The Only Rebellion Around"-a rather dismissive, snotty, but sensational and kind of intriguing article about Ginsberg, Kerouac and Burroughs, but also others, very important, who'll have to forgive me for not mentioning them, as there are too many.
And then once he was Burroughs, this icon began to be built up around him. That's a collaborative creation, and it remains so. Who Burroughs was becomes a projection. Kerouac puts a Burroughs character in his books, under different names-that's his take on William. Ginsberg-not so much in his poems but in general-talks about Burroughs and promotes Burroughs. He was Burroughs' agent; he got him his first book deal for "Junkie." And I would have to say that, in a way, Burroughs starts to play into his own legend at some point-maybe not until the early '60s in London. How self-conscious it was, I don't know, I wasn't there. :
The Swingin' '60s. The youth culture was strongly related to bands, and the bands were not, by and large, what we think of as '60s bands from a U.S. point of view. A lot of it was coming out of Cambridge where you had sound experiment composers. Even McCartney used to attend concerts by Karlheinz Stockhausen. McCartney was interested in found music, in John Cage and Robert Wyatt's Soft Machine-which was named after an early '60s Burroughs novel. They were coming from prog rock avant la letter-before it had that name-and also psychedelic, before it had that name. It was trippy; Pink Floyd was trippy. So there was a music scene, and Burroughs was on the scene, and he was photogenic. His writing was influential and he was considered, as the saying goes, "mad, bad and dangerous to know."
All of which was exciting and alluring. He began to be a name check, actually-by the same token that a lot of people say they love "Naked Lunch" but, really, they didn't actually read it-which is fine with me, by the way. There's a new edition out, people. You can buy it and not read it, too. Pick it up.
The point is good. If you professed a certain kind of cool, you had to bring up Burroughs.
It was a name check. The perfect example of this is the cover of "Sgt. Pepper's Lonely Hearts Club Band." There's the collage with the 150 little faces of people, and William is one of the prominent ones. And there are a lot of relevant people - Terry Southern comes to mind. [William] brought a lot of ideas. And let's not leave out a very, very important part of this-both as to the icon of Burroughs' persona and the façade, the concept, the edifice of Burroughs' work and what was in it, what it stood for, and the music scene in Europe, particularly London, at this time-and that is Brion Gysin.
Who was a dear friend of Burroughs.
Well, yes-he became a dear friend. Gysin was two years younger. Burroughs met Gysin in Tangier in 1954, when he first got to Morocco. Their encounters were few and mediated mostly by their mutual friend, Paul Bowles. They weren't that fond of each other. They were suspicious and dismissive of each other. But then it came to pass that Gysin and Burroughs were both in Paris in early 1958 and they became fast friends. They both lived in the so-called Beat Hotel at 9 Rue Git-le-CÅur in Paris. August of 1959 is when "Naked Lunch" was published, suddenly. Years of writing were suddenly under pressure from the publisher, Maurice Girodias, and was put together into the final book and was printed.
Did it come out in the U.S. at that time?
No. It had to be smuggled in, until there were some cases filed [in court]. Banned in Boston -the famous Boston case on "Naked Lunch," which the customs office claimed was contraband because it was obscene. That didn't stand. The first American edition of "Naked Lunch" was technically published in 1962, three years later, though it wasn't actually distributed until 1966 because of the court cases. Barney Rosset and Grove Press fought the good fight, speaking of literary censorship.
But Brion Gysin is in London now, in the early 1960s. He's a very flamboyant character who knew everybody-in a way, a kind of Truman Capote: completely different height and appearance, vocal timbre and background, but the same kind of charisma. And also, a storyteller, a raconteur extraordinaire. Also, a very important person in this part of the music answer is Barry Miles, because Miles was involved with the International Times, an underground newspaper with the Indica Bookshop, which was also an art gallery-where Miles introduced John Lennon to Yoko Ono, who was having a show there. Miles had a role with Paul McCartney's financing a recording studio for projects by Ian Sommerville, Burroughs' Cambridge student boyfriend at the time, whom he had met right after "Naked Lunch" came out.
But I started to mention November 1959 because the same day Burroughs gave his interview to the Life Magazine reporter, Gysin discovered, or re-discovered, the cut-up technique. Collage and the random factor, aleatory and chance operations have a long history. I can show you them in Swift and in Dodson-I mean Lewis Carroll-and, of course, Dada and surrealism.
When Gysin found it he thought it was a fantastic idea-chance operations in writing. It was a very pregnant idea. John Cage, Earl Brown, and Marcel Duchamp are a few who stand for chance operations in music and the arts. And those ideas were very, very influential-and are to this day. And they were a little bit branded by Burroughs and Gysin, but at some point the brand wears off. At some point these ideas that were branded, "That's a Burroughs," became associated with the artists in different fields who picked up on it, who adopted it :
As Burroughs receives this credit, he also receives the attention of a new generation of rebels in rock music.
So here he is in New York in 1974, 1975, and it dawns on people by degrees that Burroughs is there. And the cognoscenti are burning up the phone lines to each other: "Burroughs is here!" And people wanted to come see him and meet him. And he started giving readings.
I remember reading Victor Bockris' book, "With William Burroughs: Report from the Bunker," nearly 30 years ago. Bockris has taken some criticism not only for his style, but also for a certain amount of self-aggrandizement. The way he portrayed the Bunker was like the Factory updated.
Well, he would. First of all, Victor Bockris is a dear friend of mine. I'm very close to him. I'm well aware, and he's well aware, of exactly those viewpoints you characterized. It really goes back to Andy [Warhol]. Andy's concept was that everyone is famous and that the mundane could be celebrated-and also the idea that glamour is contagious, it just spreads.
It was all a bit tongue-in-cheek-we know Warhol. The people he called "superstars" were guttersnipes. No offense to the surviving ones who are friends of mine-I'm sorry, Gerry. They were speed freaks and hustlers, and Warhol said: "These are the beautiful people." Well, this was very different than Camelot, which was the background to the Warhol emergence. Bockris was not only a student of, but also resonated with, the Warholian outlook on fame. It wasn't jumped-up. It wasn't overweening to make these people legendary and famous. It was part of the game.
So sure, you read "Report from the Bunker" and you're going to get an impression that it was a constant world of superstars. And Victor's editing of his material was very creative, kind of a hash of slice-and-dice. Conversations would be assembled from different days and places-that's his license. But even if you just limit yourself to the edited material of Bockris, you're going to see a comical, Keystone Kops side of the whole thing, too.
A famous example is when Victor brought Mick Jagger over to meet William at the Bunker. As the saying goes, "alcohol was involved," for one thing, and Jagger was evidently paranoid about being asked to do something. And there was some bad blood. William may have exaggerated it in his own mind, but he always felt that he had offended the Rolling Stones people when he was invited to the wedding of Mick and Bianca in Gibraltar-where Burroughs had been many times. At that point, he was living in London, and they didn't offer him a ticket. Burroughs was offended-droit de seigneur, you know: "If they want me there, they should send me a ticket." But the flip side of that was, he was broke. Anyway, there was this history there-quite a little thesis, in fact, on the Burroughs-Jagger relationship. He puts Mick in his books. I'm not going to tell you where. He makes Mick a key figure in two of his most important books. It's an open secret, actually... [Note: the secret is revealed in the podcast version of this interview below].
Many writers perceive their substance of choice as a muse. Did you see any change in Burroughs' writing, before and after?
There are two things I could say about William's attitude towards drugs and his writing. One is that he was a great believer in the beneficial, salutary effects of cannabis, in all forms. He thought that it contributed-if not necessarily always to his writing and the process of composing-at least to the generation of ideas. He would say: "I'm blocked, I'm depressed : take a few hits and sit around, and I start to get all these great ideas." Of course, that's a set-up for some right-wing joke, like: "Great ideas, ha ha! In the light of day, it's a dog's breakfast." But he found that it promoted his non-categorical thinking. It broke down barriers of ideas in his imagination.
As far as opiates-junk, as he called it; dope-he would never have said that the effect of opiates was any kind of muse for him. He had a limited interest in, and knowledge of, the allure, the seduction and the mysterious profile of opiates, but he didn't romanticize it. Well, a little bit. His main thing about junk in his writing was that it turned out, in retrospect, that getting his first habit, and everything that followed, made his career-because it gave him his subject matter. It's only in retrospect that you can see that.
There will always be discussions of whether or not Burroughs is a literary genius of the 20th century.
I recently ran across a review of "The Yage Letters Redux," a new, restored version of "The Yage Letters," edited by Dr. Oliver Harris. I saw a review in The New Criterion that was so negative and dismissive and contemptuous and scathing, it was amusing to me. :
I'll tell you what you can do with the word "genius"-here's a first-person account: In 1974, I went to some of these classroom meetings at CCNY, a creative writing class. And one of the students asked him: "Mr. Burroughs, how does it feel to be a genius?" And he said: "You get used to it."
He didn't with any grandiosity think of himself as a genius, but he had a very solid idea of his own place. You can't take away Burroughs. Burroughs is : a name that will endure.
This interview appeared on Lawrence.com July 30, 2007 to mark the tenth anniversary of the death of William S. Burroughs on August 2, 1997. Tom King is a writer, gardener and the RESIDENT caretaker of the William Burroughs house in Lawrence, Kansas. Reproduced with the kind permission of Tom King.
Originally published July 30, 2007 on Lawrence.com a subsidiary of the Lawrence-Journal World http://www.lawrence.com/news/2007/jul/30/burroughs_guy/?burroughs_2007
The Great Globe Is Paint In Air
by James W. Grauerholz
WILLIAM WAS a Foreseer. He foresaw our new century. He saw in to the shadows of his times, and he discerned the roots, deep in those darknesses, of what and who—today—we all know are the real Nova Mob. The Nova Criminals of our time, the 21st century A.C.E., have revealed themselves; they are right out in the open:
• The 147 transnational corporations who own (on paper, anyway) the vast majority of all planetary “wealth”—resources, assets, and financialized lies—on our Third Planet From the Sun ... but what they own has an aggregate “notional value” of many multiples of the planet’s actual total wealth, by any humane measure;
• The top 200 publicly-listed oil, coal and gas companies whose fossil-fuel “proven reserves” account for 1/4 of the planet’s unextracted hydrocarbons and amount to 745 gigatons of carbon dioxide—far exceeding the planet’s “remaining carbon budget,” i.e., 500 GtCO2: the absolute maximum carbon that can be further burned by Humankind without provoking global warming in excess of 2 degrees Celsius, hastening and worsening the already-begun worldwide climatic disaster;
• The Mega-Wealthy of Earth in 2012, their extravagant riches far surpassing anything ever known in all of human history ... William imagined them more than fifty years ago.
These très riches heures of Earth’s final human generations, before the Deluge, and the Ovens: in Naked Lunch,in the Cut-Up Trilogy, in The Wild Boys ... there were “A.J.” in “Le Gran Luxe,”and “Hassan,” he of the orgiastic “Rumpus Room,” and let us not overlook “Mr. Hart,” the embodiment of William Randolph Hearst as William imagined him in Ah Pook Is Here, nor his Mayan demonization of Henry Luce (“It is a control system. TIME LIFE FORTUNE is some sort of a police organization.”—WSB, January 1, 1965) ... and “Mr. Rich Parts,” the scar-carapaced, transplanted-organ king, cowering far below the surface in a refrigerated Bunker ... so many more, all right there.
We need not fine-tooth-comb the Burroughs-Scripture for Nostradamic arcana or magikal incunabula, because William laid it out bare, in plain English:
ALL OUT OF TIME AND INTO SPACE.
“Citizens of Gravity: We are converting all-out to Heavy Metal. Carbonic Plague of the Vegetable People threatens our Heavy Metal State. Report to your nearest Plating Station. It’s fun to be plated,” says this well-known radio and TV personality who is now engraved forever in gags of metal.
Sudden young energy--
Or, as William voiced a Nova Mobster saying, in one of the many tape-recorder audio works he made in the 1960s:
“Who ... let ... Burroughs ... get to that phone?!? and drop a dime on Us...?!?!”
Go to Nova Express, for Burroughs’ vision of Nature’s Revenge:
“Pay Color! Pay it all, pay it all, pay it all back!”
Or hear William’s mind inside the Controllers’ minds:
“Don’t let them see us! Don’t tell them what We are doing! Premature! Premature! Disaster to my blood whom I created!”
And here is what Burroughs said in “The Future of the Novel,” a text that he delivered in Edinburgh, Scotland, at the epochal 1962 Writers Conference:
A Russian scientist has said: “We will travel not only in Space, but in Time as well.”
That is, to travel in Space is to travel in Time. [...]
The conferring writers [here] have been accused by the press of not paying sufficient attention to the question of human survival—†
In Nova Express (reference is to an exploding planet), and my latest novel, The Ticket That Exploded,
I am primarily concerned with the question of survival--
But William Burroughs also said, quoting his closest friend and greatest collaborator, Brion Gysin:
“Man is a bad animal.”
William and Brion referred to the dogs-like aspect of Humanity:
“They will breed their ignorant peasant asses into the ocean.”
In his seventies, William allowed his Inner Misanthrope to flare-up when he read how the Third World‘s ballooning human population was deforesting Madagascar (to choose just one, very WSB-specific, example) ... their unsustainable slash-and-burn agriculture irreparably destroying Lemur habitat, and that was already 30 years ago.
William snarled to contemplate the gentle Indri lemurs hunted by starving Malagasy human beings and eaten by them, as “bushmeat” ... he sneered and cursed those humans, so deeply was his heart hurt to think of it, he growled to swallow a sob, in his latter years when he contemplated the Future that is now our Present.
In this Present of ours, most of the Lemuridae are threatened with extinction, and many species are already forever lost. In 2012, it was reported that 91% of the 103 still-extant Lemur species and subspecies are at maximum risk of extinction.
It’s the end of the line for the Lemurs this time, people.
Go on, read William’s late-life “Jesus Lemur” novella, Ghost of Chance, then try to visualize how he would have despaired at what is happening right now. It brings tears to my own eyes, just imagining it. But the memory of William’s sterner stuff dries me up quickly, as it also rescued him in the mid-1990s, his final Earth years.
That was in the aftermath of his wrenching, heart-quickening “contact” with the Cats, his beloved cats, so tearfully recounted in The Cat Inside, published 20 years ago ... the eternal Cat, the White Cat, Margaras ...the White Light of Truth, still moistening William’s pages in 1995, in his book, My Education: A Book of Dreams.
For examples of his latter-day Redemption Songs, see William’s Last Words journals—where he wrestled the dark angel of hatred to the ground, but won the match, in the end, by surrendering.
William was explicitly, mystically Manichaean—not so much with the Zoroastrians’ chiaroscuro battlescape of Light vs. Darkness, but with their idea that the outcome of this struggle between Good and Evil is not pre-ordained, not “pre-recorded.”
And in that sense, all this foreseeable eventual planetary loss and desolation is no proof that the Nova criminals shall have won the day. Because that day is not today. One day it will be today.
As William wrote in his 1975 Foreword to Ah Pook Is Here, in words that can as easily refer to the planet’s fate as to one human’s life:
Your death is an organism which you yourself create. If you fear it or prostrate yourself before it, the organism becomes your master.
Then he breaks it down for us:
Time is that which ends.
The only way out of Time is into Space.
What did William mean by Space?
He spoke cryptically and contradictorily about Space, but in January 1965, he offered this clue:
The hope lies in the development of non-body experience and eventually getting away from the body itself, away from three-dimensional coordinates and the concomitant animal reactions of fear and flight, which lead inevitably to tribal feuds and dissension.
The interviewer then asked Burroughs if he was, as Mary McCarthy had suggested, a “soured Utopian.”
William’s reply can stand for his entire life project as a morally-committed American writer and artist of the late 20th century:
I do definitely mean what I say to be taken literally, yes: to make people aware of the true criminality of our times ... to wise-up the Marks.
All of my work is directed against those who are bent, through stupidity or design, on blowing up the planet or rendering it uninhabitable.
Now I have told you who are the enemies of humanity, and have shown you that humanity is its own worst enemy. In the furnace heat of that unbearable truth, William created his writings, and his paintings, and all his art. And as for me, I think that is about all we can do—but we can do that, and it is what we do.
To the Transatlantic Review’s collection of his 1962 prophecy at Edinburgh, Burroughs added a cut-up text he made for the Conference. The last paragraph of that text calls out to me to be given a place on these pages—at the top of the bill, as it were; the show-closer.
I dedicate William’s words to the memory of his dear friend, who is with him now in “The Western Lands”—my beloved brother in soul, who was obliged to leave our Earth Party already two years ago, and far too soon--José Férez Kuri.
Twenty-five years ago this month, José joined forces with William as his personal art curator and artistic consultant; their collaboration lasted 23 years.
José was a gift to William from our lifelong friends here in The October Gallery, and now, with this exhibition, the circle is unbroken. We all miss José, and we salute eternally his central role in William’s life as an artist.
I thank you all, for reading these words, and for seeing William’s Art.
Nova Police besieged McEwan Hall 
Foot Notes :
 Vitali, Glattfelder, Battiston 2011. The network of global corporate control. Zurich: Systems Design.
 Carbon Tracker Initiative 2012. Unburnable carbon: Are the world’s financial markets carrying a carbon bubble? London: Investor Watch.
Conrad Knickerbocker w/ WSB, 1965. “The Art of Fiction, No. 36: William S. Burroughs.” New York: Paris Review.
 William S. Burroughs, 1965. Nova Express. New York: Grove Press.
† Two months before the Edinburgh conference, the “Missiles of October” had held the world in delicate balance between nuclear suicide and global survival (at least).
 William S. Burroughs, 1962. “Censorship;” “Future of the Novel;” et al. London: Transatlantic Review No. 11 (Winter 1962).
 Mittermeier et al., 2012. Primates in Peril: the world’s 25 most-endangered primates, 2012–2014. Bristol: IUCN/SSC Primate Specialist Group. (International Union for the Conservation of Nature)
 William S. Burroughs, 1979. Ah Pook Is Here. London: John Calder.
 Knickerbocker 1965.
 Burroughs 1962, Transatlantic Review.
By James W. Grauerholz (Nov. 21, 2012)
This text was originally published in the catalouge for the William S Burroughs show "All out of time and into space" at The October Gallery , London, December 2012.
To purchase a copy of William S. Burroughs: All Out Of Time And Into Space (October Publications) visit The October Gallery bookstore http://www.octobergallery.co.uk/bookstore/
You can view William S. Buroughs art which has been exhibited at The October Gallery on their website http://www.octobergallery.co.uk/artists/burroughs/index.shtml
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