After two months of twelve- to sixteen-hour days, and six-and-a-half-day weeks, I began to realize I’d misread the signs that led me to the Beat Hotel. The caretaker’s house did have the advertised citrus trees, pool, fireplace and view, and the Camaro—glowing, golden—was there, too. But I hadn’t spent a single night in the house. Instead, I collapsed in a room at the Beat, got up early and went back to work. The Camaro stayed in the driveway. Worse, my fantasy about living the writer’s life in the desert was precisely that: I hadn’t written a single page. Instead of breaking my writer’s block, Steve entombed it beneath an endless, proliferating series of tasks. Read More
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