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Posts Tagged ‘William S. Burroughs’

What We’re Loving: Carson, Comyns, “Carriers”

June 27, 2014 | by

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Detail from an illustration by Ellen Weinstein for the summer issue of Nautilus, a science quarterly.

I don’t care if I never read another charming little book about Marcel Proust—not now that I’ve read Anne Carson’s chapbook The Albertine Workout. In fifty-nine numbered paragraphs (or perhaps, exercises), Carson reviews what little we know about Marcel’s mistress, the most-mentioned and yet most elusive character in Proust’s work. Carson’s findings take us deep into the questions of what love and sex mean to Proust, and in our own lives. As the title implies, you can read The Albertine Workout in one sitting, but you will keep feeling it for days. —Lorin Stein

This week, I discovered the Web site for Nautilus, a science quarterly. I have yet to see the print version, but if it’s anything like the online iteration—elegantly and smartly designed, with illustrations that often have the look of early- to mid-twentieth-century artwork—then it’s worth picking up. The content isn’t what you’d necessary expect from a science magazine (I grew up around hardcore publications like Nature and Science): there’s fiction, photography, and art, in addition to pieces on, say, evolution, lepidoptery, architecture, and ecology. I came to the site looking for Lauren Weinstein’s comic strip “Carriers,” which she posted daily this past week. Weinstein is one of the best cartoonists at work, and this five-part story is proof of that. She and her husband are both carriers for cystic fibrosis, and the comic details her struggle in waiting to find out if her unborn child tests positive for the defect. Weinstein’s characteristic humor keeps pathos at bay, and she reflects entertainingly, by way of her terrific serpentine scroll-downs, on the how and why of genetic mutations such as this one. —Nicole Rudick

What do you think when you hear the name Luis Suárez? If you’ve followed the news this week, the phrases “biting lunatic,” “delinquent toddler,” and the “Hannibal Lecter of soccer” might come to mind; “family guy,” “superhuman,” and Uruguay’s “favorite son” haven’t crossed the minds—or lips—of many sports pundits. If you’re curious about understanding Suárez beyond the memes and gifs, Wright Thompson’s profile from late last month explores the Uruguayan player’s childhood and the mystery surrounding an incident when he head-butted a referee and received a red card in a youth match—which may or may not be true. What really stuck with me after finishing the essay wasn’t the story of the referee or the media scrutiny, but the history of Suárez and his wife, Sofia Balbi. After the pair fell in love at fifteen, Sofia moved to Spain with her family. Suárez, at the time working as a street sweeper, knew that he could never afford a plane ticket on his own. Instead, he dedicated himself to soccer until he became good enough to be picked up by a European team. The thing is, his “completely irrational” plan worked—he played first for Groningen, then moved to Ajax and finally to Liverpool, where he now plays. He married Balbi in 2009, and as Thompson writes, “He loves his family, and soccer gave it to him, and guarantees no Suárez will ever again pick up coins while cleaning the streets.” While this romantic tale doesn’t justify his actions last week, it helps explain the desperation you catch sometimes in his eyes when you watch him play, “someone who fights to win, no matter what … He bites because he is clinging to a new life, terrified of being sucked back into the one he left behind.” —Justin Alvarez

Regular readers of the Daily already know how NicoleSadie, and I feel about the neglected English writer Barbara Comyns. Last week it was my turn to read her gothic novel The Vet’s Daughter. It reminded me powerfully of something Donald Antrim told The Paris Review in issue 203: “In building another world through the fantastic I was making a set of rules that had to be observed, a logic that had to be carried through—that I was in some ways obeying the premise of the very opening line.”  —L.S. Read More »

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New Year’s with Burroughs, Surprisingly Tame

January 2, 2014 | by

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Firecrackers and whistles sounded the advent of the New Year of 1965 in St. Louis. Stripteasers ran from the bars in Gaslight Square to dance in the street when midnight came. Burroughs, who had watched television alone that night, was asleep in his room at the Chase Park Plaza Hotel, St. Louis’s most elegant.

William S. Burroughs, the Art of Fiction No. 36

 

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Hemingway Moves North, and Other News

May 6, 2013 | by

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The Varieties of “Experience”

November 9, 2011 | by

Mirror Carousel, 2005. Installation view, "Experience," New Museum. Photo © Benoit Pailley.

At this time of year, the Bowery seems colder and brighter than other streets nearby, maybe because it’s several lanes wide and flanked by buildings no more than four or five stories tall. To me, it’s also a resonant place, and has been since I moved to New York. Along the Bowery, there are traces of a cultural history I tell myself I’m a part of (artists and musicians making prescient, eerie, underground things) as well as a cultural history that, let’s be honest, I’m actually a part of (Chinese immigrants starting businesses to meet market demand). Mark Rothko, Eva Hesse, and William S. Burroughs lived or worked along the Bowery. CBGB’s was there. It has also been the site of lighting outlets and restaurant-supply stores with exactly the sort of aspirational, front-of-the-phonebook names that my parents, with their limited English, would choose: AA International Trading Inc. A-1 Restaurant Equipment. A-Plus Restaurant Equipment.

Maybe it’s because the rest of the Bowery seems so familiar that I found “Experience,” Carsten Höller’s solo show at the New Museum, so disorienting. Of course, as the Belgian-born artist recently told a colleague at Artforum.com, “My entire show is set up to make you [go] mad.” Read More »

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Part 1: The Amanuensis

October 24, 2011 | by

Photograph by Michael Childers.

A story in three parts.

Karl, the Beat Hotel’s ex-meth-addict handyman, stood at the top of a thirty-foot ladder, squirting a translucent goo with the brand name “Tanglefoot” onto one of the Hotel’s air-conditioner units. I held the ladder so that Karl did not pitch off into the sand and gravel below. The goo represented a new phase in our boss’s war with the pigeon population of Desert Hot Springs, California.

Our boss was Steve Lowe. Before starting the Beat Hotel, he’d performed with Laurie Anderson and read poetry with Allen Ginsberg. His gallery showed the best work Keith Haring ever did, and he made art with Richard Tuttle. Steve had also been William Burroughs’s amanuensis, a position that combined the duties of researcher, artist’s assistant, gallerist, and Official Writer’s-Block Breaker. Steve could tell stories about hanging out with William and Kurt Cobain and Patti Smith. He also recalled that, at Burroughs’s wake, he and Grant Hart, who was the drummer for Hüsker Dü, were the only people sober enough to be horrified when somebody threw up in the swimming pool. Read More »

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