domingo, junio 25, 2006

Life Line of the Beat Generation
Sunday, November 26, 1995

-- 1943: Allen Ginsberg meets William Burroughs in Greenwich Village. Within the next few months, both men meet Jack Kerouac. They become the founding fathers of beat literature.
-- 1946: Hipster Herbert Huncke, a hustler, drifter and onetime freak-show shill, turns Kerouac and friends on to the term ``beat,'' an old circus expression meaning beaten down or, in drug-world slang, cheated.
-- January 1947: Kerouac meets the magnetic, freewheeling Neal Cassady, model for Dean Moriarty in Kerouac's classic ``On the Road.'' A few weeks later, Cassady meets Ginsberg, with whom he begins a sexual relationship.
-- 1948: Kerouac uses the phrase ``beat generation'' in a conversation with writer John Clellon Holmes, who popularizes it four years later in a New York Times magazine piece.
-- January 1949: Kerouac, Cassady, his wife, Lu Anne, and Al Hinkle set off in a '49 Hudson on the cross-country trip on which ``On the Road'' is largely based.
-- March 1950: Kerouac's first novel, ``The Town and the City,'' is published.
-- September 1951: Playing a drunken game of ``William Tell,'' Burroughs accidentally shoots and kills his wife in Mexico City. He spends 13 days in jail and is released.
-- 1952: Robert Duncan, Jess and Harry Jacobus open the King Ubu Gallery on Fillmore Street in San Francisco, an important scene for poets and emerging funk artists. It would later become the famous Six Gallery.
-- 1953: Burroughs' ``Junky: Confessions of an Unredeemed Drug Addict'' is published. The same year, Lawrence Ferlinghetti and Peter Martin open City Lights on Columbus Avenue in San Francisco, America's first paperback bookshop.
-- August 1955: City Lights Press publishes its first book, Ferlinghetti's ``Pictures of the Gone World.''
-- Oct. 13, 1955: Ginsberg reads portions of his landmark ``Howl'' at the Six Gallery, shaking up the audience.
-- October 1956: City Lights publishes ``Howl and Other Poems.''
-- March 25, 1957: U.S. Customs officials in San Francisco seize copies of ``Howl'' and declare it obscene. In June, Ferlinghetti is arrested for publishing and selling obscene literature; after a much-publicized trial, Judge Clayton Horn rules that ``Howl'' is not obscene.
-- Spring 1957: Ferlinghetti, Kenneth Rexroth and a group of jazz musicians begin a series of jazz and poetry collaborations at the Cellar in San Francisco.
-- April 2, 1958: Chronicle columnist Herb Caen coins the word ``beatnik.'' It immediately enters the language. Beat camp followers flock to North Beach and Greenwich Village with their berets and bongos.
-- April 8, 1958: Cassady is busted in San Francisco for possession of three joints of pot; he serves two years in San Quentin.
-- 1959: The beat fad reaches its apex, making the covers of Time and Life magazines. Bob Denver portrays the goateed beatnik Maynard G. Krebs on the ``Many Loves of Dobie Gillis'' TV series.
-- July 1959: Grove Press publishes Burroughs' cult classic ``Naked Lunch.''
-- October 1961: Satirist Lenny Bruce is busted at the Jazz Workshop in San Francisco for using four-letter words, the first in a long string of obscenity charges that will dog Bruce until his death in 1966 at age 40. A San Francisco jury acquits him.
-- 1962: Cassady meets Ken Kesey, who has just published the acclaimed ``One Flew Over the Cuckoo's Nest.'' Two years later, Cassady is at the wheel of the Merry Pranksters' psychedelic bus ``Further'' as Kesey and company set off to see America.
-- Feb. 3, 1968: Cassady, loaded with pulque and Seconal, dies in Mexico at age 41.
-- Oct. 22, 1969: Kerouac dies in Florida of an abdominal hemorrhage at age 47.
-- September, 1994: Stanford University buys Ginsberg's archives -- letters, journals, photos, old tennis shoes and snippets of his beard -- for an estimated $1 million.

Source: Steven Watson's ``The Birth of the Beat Generation: Visionaries, Rebels and Hipsters, 1944-1960.''

Los discos de William Burroughs

Un articulo sobre el Dr. Schreber en la Jornada Semanal

viernes, junio 23, 2006

The Cut-up page

Language is a virus

lunes, junio 19, 2006

Burroughs en SPRESS

domingo, junio 18, 2006

Padre y Memoria, de Federico Campbell

Rosina Conde

jueves, junio 15, 2006

Grazulis contiene una maquina cut-up

lunes, junio 12, 2006

Maquetadores, blog de diseño periodistico

sábado, junio 10, 2006

A. Pushkin

Vagaba a tientas por un desierto tenebroso.
Mi espíritu sediento padecía.
En una encrucijada apareció de pronto un alado serafín.
Con dedos leves como un sueño mis párpados tocó.
Entonces se abrieron proféticos mis ojos
cual los ojos de un águila en peligro.
Rozó mis orejas; se llenaron de sonidos y de clamores:
oí las vibraciones del éter, oí el vuelo de los ángeles,
el deslizarse de los peces bajo el mar,
y el crecer silencioso de la vid.
Me apartó los labios, me arrancó la lengua
maliciosa, locuaz y pecadora;
con su mano ensangrentada
puso entre mis yertos labios
bífida lengua llena de sabiduría.
Hendió mi pecho con su espada,
sacó mi palpitante corazón
y una ascua ardiente me incrustó en la herida.
Exánime yacía sobre el páramo
cuando la voz de Dios me despertó:
“Levántate, Profeta, abre tus ojos, tus oídos,
y a través de mares y tierras,
que tu verbo abrase el corazón de los pueblos”.


¡Oh rosa, estás enferma!
El gusano invisible
que vuela en la noche,
en la tormenta aullante,

Ha encontrado tu lecho
de alegría carmesí,
y su secreto amor oscuro
destruye tu vida.

William Blake
Versión de Homero Aridjis

La mala rosa


sábado, junio 03, 2006


Although Burroughs would continue to call upon this spew approach to writing throughout most of his life, he was soon to add a new method into his tool kit. It came in September of 1959, when Burroughs was living in Paris. One day close friend Brion Gysin accidentally sliced through a stack of newspapers and some back issues of Time and Life magazines. (He had been using them to buffer some cutting he was doing with a utility blade.) Gysin noticed that where the cut up strips had rearranged and overlapped, they created new texts. He realized that gluing the resultant texts onto a blank page generated a new kind of text, with strange new ideas, words images, and connections.

Burroughs became obsessed with his friend's new "cut ups" technique. He cut up his own texts and those of poet friends, revelling in the startling new meanings and insights that resulted from these chaos infused texts. The approach even prompted the reader to see words themselves -- their actual meanings -- in a fresh, creative light. He soon began to believe that "the only way to find out what people were really saying was to cut up their words and get at the meanings hidden inside" (Barry Miles).

Burroughs became convinced that everyone was so conditioned by language that even that which they believed to be straight perception (via sight, sound, touch) was in fact an illusion -- a filtered version of reality, with the filters embedded in our language. Because of this awareness, he became obsessed with issues of social control, thought control-- at a level much more subtle, and thus more pernicious, than the outward laws and regulations challenged by Ginsberg and others (as they battled "anti-obscenity" laws and other free speech issues). The kind of social control Burroughs saw wasn't even encoded in the law. It was programmed into your own brain -- through assumptions and associations -- just as it had been for Carr and Ginsberg in '44 when they were unable to see that they could choose to define (and pursue) art in any way they saw fit.

From here Burroughs moved on to applying the "cut up" technique to the spoken word, utilizing tape recorders, and then on to visual representations -- taking endless photographs of the same subject, cutting them up and collaging them together. (He also played with the idea that human speech was the result of a virus, contracted by our ancestors -- "the word virus".)

Burroughs en Lawrence