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not exchanged . . . sad shrinking face. . . . He
died during the night. . . .
CLOM FLIDAY
Ihave said the basic techniques of nova are
very simple consist in creating and aggravat-
ing conflicts—“No riots like injustice directed
between enemies”—At any given time re-
corders fix nature of absolute need and dic-
tate the use of total weapons—Like this: Col-
lect and record violent Anti-Semitic state-
ments—Now play back to Jews who are after
Belsen—Record what they say and play it
back to the Anti-Semites—Clip clap—You got
it?—Want more?—Record white supremacy
statements—Play to Negroes—Play back an-
swer—Now The Women and The Men—No
riots like
injustice
directed
between
“enemies”—At any given time position of re-
corders fixes nature of absolute need—And
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dictates the use of total weapons—So leave
the recorders running and get your heavy
metal ass in a space ship—Did it—Nothing
here now but the recordings—Shut the whole
thing right off—Silence—When you answer
the machine you provide it with more re-
cordings to be played back to your “enemies”
keep the whole nova machine running—The
Chinese character for “enemy” means to be
similar to or to answer—Don’t answer the
machine—Shut it off—
“The Subliminal Kid” took over streets of
the world—Cruise cars with revolving turrets
telescope movie lenses and recorders sweep-
ing up sound and image of the city around
and around faster and faster cars racing
through all the streets of image record, take,
play back, project on walls and windows
people and sky—And slow moving turrets on
slow cars and wagons slower and slower re-
cord take, play back, project slow motion
street
scene—Now
fast—Now
862/1780
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slow—slower—Stop—Shut
off—No
More—My writing arm is paralyzed—No
more junk scripts, no more word scripts, no
more flesh scripts—He all went away—No
good—No bueno—Couldn’t reach flesh—No
glot,
Clom
Fliday—Through
invisible
door—Adios Meester William, Mr. Bradly,
Mr. Martin—
I have said the basic techniques creating
and aggravating conflict officers—At any giv-
en
time
dictate
total war of the
past—Changed place of years in the end is
just the same—I have said the basic tech-
niques
of
Nova
reports
are
now
ended—Wind spirits melted between “en-
emies”—Dead absolute need dictates use of
throat bones—On this green land recorders
get your heavy
summons and
are
melted—Nothing here now but the record-
ings may not refuse vision in setting
forth—Silence—Don’t answer—That hospital
melted into air—The great wind revolving
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turrets towers palaces—Insubstantial sound
and image flakes fall—Through all the streets
time for him to forbear—Best be he on walls
and windows people and sky—On every part
of your dust falling softly—falling in the dark
mutinous “No more”—My writing arm is
paralyzed on this green land—Dead Hand,
no more flesh scripts—Last door—Shut off
Mr. Bradly Mr.—He heard your sum-
mons—Melted into air—You are yourself
“Mr. Bradly Mr. Martin—” all the living and
the dead—You are yourself—There be—
Well that’s about the closest way I know to
tell you and papers rustling across city desks
. . . fresh southerly winds a long time ago.
September 17, 1899, over New York
July 21, 1964
Tangier, Morocco
864/1780
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INSPECTOR LEE:
NOVA HEAT
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inspector lee: nova
heat
by james grauerholz
From the early 1960s to the late 1970s, Bur-
roughs’ work was splintered between his cut-
up experiments, his novel-length prose
works, and his contributions to magazines.
He had two chief concerns: to explain his
artistic method as clearly as possible, and to
foster and enlarge the kind of cultural and
political revolution to which he was an eye-
witness in the latter 1960s. This period of ex-
hortation was a logical extension of Bur-
roughs’ literary work of the early 1960s, but
it took him away from book-length fiction. In
keeping with his visionary stance at this
time, Burroughs focused on publishing his
literary “experiments” and his opinions, re-
sponding to growing editorial interest.
Throughout the period 1962-65, Bur-
roughs kept up a wide correspondence with
“underground magazine” publishers in the
U.S., England, and Europe; Joe Maynard
and Barry Miles’ bibliography (University of
Virginia Press, Charlottesville, 1973) lists
sixty-nine little-magazine first appearances
in those four years. These and other occa-
sional pieces from the early 1960s would be
gathered in various collections, such as The
White Subway (Aloes Books, London, 1973),
Mayfair Academy Series More or Less (Ur-
gency Press Rip-Off, Brighton, 1973), and
Die Alten Filme (The Old Movies) (Maro
Verlag, Augsberg, 1979).
Currently, the definitive collection of this
material is The Burroughs File, published by
City Lights in 1984. It includes White Sub-
way, Die Alten Filme, a selection of Bur-
roughs’ early-1960s scrapbook collage pages,
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The Retreat Diaries (City Moon, New York,
1976) and Cobble Stone Gardens (Cherry
Valley Editions, New York, 1976). Six short
excerpts from The Burroughs File are here,
including the “St. Louis Return” article that
was rejected by Playboy and later published
in The Paris Review’ “Writers at Work”
series, along with an interview by Conrad
Knickerbocker.
In 1964 and 1965, Burroughs lived mostly
in New York, working with Brion Gysin on
The Third Mind. Richard Seaver, Burroughs’
editor at Grove Press, was disheartened to
realize that Grove could not afford to publish
this four-color artbook. But by late 1978
Seaver was at Viking Press, and Burroughs
and Gysin agreed to allow him to publish the
texts of The Third Mind with only a few of
the collage pages, in black and white. Flam-
marion had published a similar edition in
Paris in 1974, as Oeuvre Croisée. The four
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texts included here present the fundamentals
of the Burroughs-Gysin cut-up theory.
Here also are several key passages from
The Job, a work which began in 1968 as a
series of interviews with the French writer
Daniel Odier, but which Burroughs elabor-
ated with numerous additional writings be-
fore the U.S. publication in 1970 by Grove
Press. Everything included here is from Bur-
roughs’ added texts; none of the interview
material is used. Burroughs’ “Electronic Re-
volution” is a media-desensitization and
counterattack manifesto, an open call to
arms against the Control Machine. (One may
refer back to “the invisible generation”
chapter in The Ticket That Exploded, for the
origins of these ideas in 1961.)
In The Job, Burroughs stakes out his most
explicitly misogynistic theories, and in the
most absolute terms. Burroughs did prefer
the society of men and the sexuality of ad-
olescent boys, and his childhood experiences
869/1780
with his Welsh nanny probably poisoned his
perception of women. But it was his partner-
ship with Brion Gysin that developed this
philosophy to its ultimate extreme, for Gysin
was a true misogynist. In the 1970s, when
Burroughs returned to the U.S. and Gysin re-
mained in Paris, Burroughs retreated consid-
erably from the stark misogyny of this
period.
“Remembering Jack Kerouac,” written
after Kerouac’s death in October 1969 (and
collected in The Adding Machine), shows
Burroughs’ affection and respect for his old
friend and his appreciation of Kerouac’s
achievement. Kerouac never foresaw, nor did
he welcome, the cultural movement that
formed around his work, but Burroughs saw
it clearly enough, and he approved of it; after
all, he had self-consciously launched a move-
ment of his own. But the cut-ups were a self-
limiting literary technique, and before long
Burroughs realized he had written himself
870/1780
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