Among my Defining Moments are those I categorize as By Encounters with Possible Selves As Shaping Forces of Becoming Human, figures and images reflected in the eyes of others with whom we share imaginal spaces.
We choose as our companions through life those who represent qualities and figures of human being, meaning, and value we wish to integrate in our becoming; those who perform roles we wish to step into.
Herein I number the conversations and personal relationships with those who shaped me and left upon me their mark of strangeness; first among them an influence of my childhood, Edward Albee, as I watched my father direct his plays and listened to their conversations.
With a title taken from the song Who’s Afraid of the Big Bad Wolf? in the 1933 Disney short film Three Little Pigs, where two of the pigs are convinced they’re safe from the wolf in their straw and twig houses, you know that threatening truths will undo the house of illusions George and Martha, emblematic founders of America, have built around themselves.
As written by Ben Brantley in The New York Times; “Mr. Albee has unsparingly considered subjects outside the average theatergoer’s comfort zone: the capacity for sadism and violence within American society; the fluidness of human identity; the dangerous irrationality of sexual attraction and, always, the irrefutable presence of death.”
In Who’s Afraid of Virginia Woolf, Edward Albee has given us the Great American Play, a mirror in which we see ourselves as we are rather than the illusions we have spun around and through ourselves as a defensive mask. It is about the historical and political consequences of a lie we told at our founding about freedom and equality in a government designed to leave structural power asymmetries of wealth, race, and gender untouched; about the human cost of dysfunctional relationships, and about the implications for meaning and being when the personal and political realms of action collide and change each other. This play is a masterpiece, and I think we should all watch the film in school before we go to vote for the first time.
In this context I think of America as represented in Edward Albee’s iconic play, Who’s Afraid of Virginia Woolf. My father directed some of his plays, and I listened intently to their conversations during rehearsals from a center front seat in the theatre, which interrogated Albee’s direct influences and references among his fellow Absurdists Samuel Beckett, Eugene Ionesco, Jean Genet, and Harold Pinter.
The line of transmission of Absurdist elements in literature originates with Fyodor Dostoevsky, Lewis Carroll, Nikolai Gogol, and Franz Kafka, diverges from the limits of Humanism with Antonin Artaud, Eugene Ionesco, Witold Gombrowicz, Albert Camus, Albee and his ilk as previously cited, diverged from the main tradition as Nihilism in Samuel Beckett, Thomas Ligotti, and Kobo Abe, and continues today in the works of Haruki Murakami, Kurt Vonnegut, and Elif Shafak.
Of my adventures as a theatre brat I shall recount here only one; during my father’s direction of The Sandbox my mother asked Edward Albee if she could have a picture taken with him, whereupon he pointed to the gallery along the theatre entrance and said, “Let’s take it in front of the Jackson Pollock; it looks like Martha’s mind.” For Edward Albee, whose works were among those I could recite verbatim at the age of four, literally as I used to sit in at rehearsals and give the actors their lines if someone forgot, the failure of order in both political and psychological terms was a symptom of Sartrean bad faith.
Here also Albee leads us through a labyrinth of mirrors, a funhouse of distorted images, both comical and grotesque, images which capture and reflect, assimilating or robbing us of our uniqueness in infinite regress to steal our souls, which through his magic of seeing our true selves becomes a Hobgoblin’s Broken Mirror as in in Anderson’s The Snow Queen, fragmented images which multiply our possibilities of becoming human.
I particularly like the following lines from Who’s Afraid of Virginia Woolf, laden with satire of our falsification through invented histories and authorized identities, and influential to Jean Baudrillard’s theory of simulacra;
“Martha: Truth or illusion, George; you don’t know the difference.
George: No, but we must carry on as though we did.
Martha: Amen.”
Do see the iconic 1966 film adaptation starring Richard Burton and Elizabeth Taylor; I used to show it to high school students on day one of American History.
And I would say in preface to the class; Here we see images of the history from which must emerge to become human as self-created and self-owned beings; histories which we drag behind us like invisible reptilian tails, with legacies of unequal power and multigenerational epigenetic trauma.
I want you to seize these images and reclaim them for your own. Always there remains the struggle between the masks we make for ourselves and those made for us by others. This is the first revolution in which we all must fight; the struggle for ownership of ourselves.
We are gathered here to study history and our place in it, and to interrogate our informing, motivating, and shaping sources as stories, to perform the four primary duties of a citizen; Question Authority, Expose Authority, Mock Authority, and Challenge Authority, and to be what Foucault called truth tellers.
So, I have a film for you which models how to perform these roles, and this is where we will begin our study of American History, with the Original Lie which founded our nation. This is who we are, and it falls to each of us to make a better future than we have the past; to become a fulcrum, and change the balance of power in the world.
Such was my annual speech in preface to the study of American history.
Also informative and insightful, Stretching My Mind: The Collected Essays of Edward Albee, includes his ideas about Samuel Beckett, Eugene Ionesco, and Sam Shepherd, as well as autobiographical writings about his own life, work, and worldview.
Finally, written four decades after Who’s Afraid of Virginia Woolf, there is his last and greatest work, displaying the final form of his political psychology and an evolution of all the themes that have come before in his long career as a playwright, like a summa theologica of our time; The Goat, or Who Is Sylvia?
The Goat, or Who Is Sylvia? is a Greek tragedy in structure which employs the methods of comedy to subversive ends, about the uncontrollable, totalizing nature of love and passion as a bringer of chaos and renewer of the world, sweeping all before it like a tidal wave.
Nowhere in his cannon of work is Edward Albee’s intention more clear; to empower and liberate us both personally and politically. As an examination of Keats’ ideal of Love it is insightful and superb; as an extension and interrogation of the themes of Thomas Mann in Death in Venice and his reinterpreter Vladimir Nabokov in Lolita it is a brilliant satire and political fable. Herein he restates his primary insight; that life is a struggle for control and ownership of identity, the persona or mask that is worn in Greek theatre, between ourselves and our society.
As written by the Edward Albee Society, On The Goat of Who Is Sylvia?; “The play is about love, and loss, the limits of our tolerance and who, indeed, we really are.” Indeed, while bestiality is one of the many topics addressed in Albee’s play, the playwright’s main objective is more aligned with imagining ourselves “subject to circumstances outside our own comfort zones.”
In an interview with Charlie Rose focused on The Goat’s 2002 New York premiere, Albee stated, “Imagine what you can’t imagine. Imagine that, all of a sudden, you found yourself in love with a Martian, in love with something you can’t conceive of. I want everybody to be able to think about what they can’t imagine and what they have buried deep as being intolerable and insufferable. I want them to just think freshly and newly about it.”
Even the play’s title echoes this sense of multiplicity in terms of its meaning. Albee said in his interview with Charlie Rose, “A goat is two things. A goat is the animal, and, also, I believe a person can be a goat, the butt of a situation.” Florescu offers a more symbolic definition of the word goat: “Sylvia is everybody’s goat, ready to unleash our wildest desires, potentially dissolving, or, at least, diminishing the ravaging effects of our gregarious, unhealthy regimented selves.” Zinman suggests that the use of the term “goat” could also refer to “scapegoat”: “The goat is wholly innocent, victimized by Martin’s obsessive love and Stevie’s murderous revenge.” Yet, in an advertisement created by The Philadelphia Theatre Company for their production, a picture of a goat “with a snapshot of the play’s characters hanging out of its mouth, suggesting that a goat, who will, notoriously, eat anything, has devoured this family alive,” suggests the personification of the goat and, thus, Sylvia’s own responsibility for the events that take place. In addition, the name Sylvia, Zinman argues, references Shakespeare’s pastoral vision in Two Gentlemen of Verona.
As stated by Esbjornson, The Goat is ultimately meant to be a tragedy. Even the set he and John Arnone collaborated on had columns to provide a “classical quality to it, a Greek-tragedy quality.” Zinman states, “In ancient Greek tragedy, the hero, at the height of his happiness, often complacent in his smooth fortunate life, undergoes a sudden reversal of fortunes.” Indeed, once Martin confesses his affair to Ross, his fate is no longer his own. According to Aristotle, he must then “‘fall from a great height,’” which Martin does; he is reduced from an award-winning architect to a mere sexual deviant. Whereas Martin acts more as a tragic hero, Ross, on the other hand, takes the place of the chorus “representing the vox populi and of setting the wheels of tragedy in motion.”
Albee thinks a play can be called political only if “…it makes people think differently enough about things so that their life alters including their politics.” In order to make a difference in a contemporary society so accustomed to debunking generally accepted restrictions, Albee had to “…go even further afield than Nabokov to find a taboo still standing.” In Zinman’s opinion, Albee’s view is that sexuality is “…more complex, far wider, deeper, and less governable than we generally think.” Albee’s use of bestiality is meant to parallel society’s view of homosexuality which “appear[s] normal by comparison.” Gainor furthers her argument by stating that it is through bestiality that Martin “literalizes his extremity of alienation and longing.” By experiencing prejudice for his own sexual proclivities, Martin must “accept his son’s desires with equanimity, applying his newly gained insights on dominant and marginal practices.”
In this way, Martin and Billy can seek to rebuild their relationship. Robinson writes of The Goat: “Albee’s play insists that it is about something beyond a domestic crisis that can be cordoned off and concealed from the world – though it is about that too. We see that the personal is political, yes, but also something more: that what is private about our lives only comes to have meaning as we enter the public sphere and this public sphere enters us.” Ultimately, as Robinson states, The Goat is meant to affect both the micro and macro levels of society in a way that encourages progressive thinking even in uncertain times. “
And on Who’s Afraid of Virginia Woolf?, also from the EAS website; “George and Martha revel in the dissection of the truth and illusion that have kept them bound in their fiery marriage. The illusionary component of George and Martha’s relationship is best symbolized by their imaginary son. George, jarred by Martha’s breaking of their rule, decides to kill off or “exorcise” their son, thus explaining the significance of Act III’s title. Adler writes, “…George exorcises the child not only to kill the illusion and live in reality, but to destroy one reality—that in which he has failed to exercise the strength necessary to make the marriage creative even without children–and create a new reality to take its place. George, through mapping out for Nick and Honey the way to redirect their lives, achieves for Martha and himself a radical redirection of their own.” Unlike Martha and George who are universally acknowledged by critics as having married for love, Nick and Honey’s marriage was only initiated because of Honey’s pregnancy coupled by her father’s wealth. George tries to steer Nick and Honey away from the fate that he and Martha are currently battling: the use of illusion as a weapon against each other. Martha, too, as Hoorvash and Porgiv comment, “…senses that something is lacking, not merely in her marriage or her life, but also in the lives of everyone else.” Paolucci further asserts: “The younger couple mirror our own embarrassment and own public selves; Martha and George, our private anguish.” In an interview with Rakesh H. Solomon, Albee comments on George and Martha’s imaginary son as a metaphor for this profound discontentment: “There is a distinction between the death of a metaphor and the death of a real child. And the play for me is more touching and more chilling if it is the death of the metaphor.” George’s shattering of the illusion of his and Martha’s son is his answer to Martha’s desire for him to “…assert his strength” against her “…many masculine qualities…[which] feeds off of George’s emasculation.” The duality of George’s personality allows for a breadth of interpretations for actors. Albee comments: “‘Once you’ve played George in my play no other role with the possible exception of Hamlet will challenge you quite as much as far as magnitude of text, complexity of language and the challenge of working on many planes at the same time.’”
George and Martha’s inability to conceive also plays into the extended metaphor of Albee’s play, suggesting that “…sterility and fertility are simply metaphors for social stagnation and progress, respectively. George’s solution, rather, is closer to a religious one, which has always been part of the American ideology” Albee’s inspiration for Who’s Afraid of Virginia Woolf? was the tumultuous state of American society during the 1960s. Dircks writes of Albee: “Albee saw an American society as sustaining itself on national illusions of prosperity and equality; here too, the situation demanded an honest confrontation of problems and a heightened state of communication.” Zinman, too, states, “Albee’s political and cultural agenda is woven into the characters’ preoccupations, and thus into the dialogue.” Thus, there can be no mistaking Albee’s allusion to George and Martha Washington, the first couple of the United States. Still, other critics attribute Albee’s inspiration to not just American politics but also to Virginia Woolf, herself, and her short story: “Lappin and Lapinova.
Who’s Afraid of Virginia Woolf? remains an impactful script that speaks to universal conflicts each generation must face: Who are we? What do we represent? and What will our futures hold?”
Among the many funhouse mirror images which I have claimed as my own, my second and most sustained influence must be my great teacher, of martial arts, Chinese and later Japanese languages, calligraphy, and poetry, the strategy game of wei-chi or go, Chan or Zen Buddhism and Taoism, with whom I studied daily for ten years from the age of nine, and who was my window to a larger world. As a result I grew up with three voices and thinking in three languages, as I also studied French from seventh grade.
That last reference bears interrogation; during seventh grade I tested out of English classes through senior year of high school on AP and SAT exams given to me specially and IQ tests arranged by my parents and teachers who conspired to force me into high school early, which I absolutely refused but for one class, where I traded seventh grade English for Freshman French literature and language, a chance I fell upon with ravenous delight. The French teacher was a blonde goddess who motivated her students by offering a trip to Paris, with her, after graduation from high school for the best senior French student each year; competition for this honor was fierce, and I was a very, very good student. Thanks for the soft landing in high school, Miss Starling.
How I met Sifu Lung, my teacher of Chinese and martial arts, happened like this; I spent recess at school during fifth grade either playing chess with the Principal or experimenting with the chemistry set in the classroom, which doubtless seemed odd, unfriendly, and aloof to the other children whom I failed to play with. Someone retaliated by putting gum on my seat, which I found insulting, so during the next recess I poured some chemicals marked with skull and crossbones on the bottles down the spigot of the drinking faucet, reasoning that water pressure would let them pool in the u-tube just below so that everyone who went for a drink of water after playing would get a dose. That afternoon half a dozen kids were outside throwing up, and I felt not triumph but horror, because I realized I could have unintentionally killed everyone. I told my father about it that night.
To this my father replied; “You have discovered politics; this is about fear and power as the basis of human exchange and relationships. Most importantly, it is about the use of force.
Fear is a good servant and a terrible master; those who use it to subjugate others are motivated by fear themselves, and if you can show them you do not fear them they will be afraid of you, and you can use it as a lever to win dominance. Fear is a ground of struggle. Fear precedes power. So, whose instrument will it be?
Fear, power, and the use of social force are balanced with the need to belong. Sometimes its best to do what others do to fit in, but it isn’t always best, and it can be very wrong. Best is to discover what’s best for you, no matter how different that is, and find belonging on your own terms and no one else’s. Even if you have to create that community yourself.
What you need is a way to confront people directly when you’re upset with them that doesn’t cause more problems than it solves.”
This was 1969 and he arranged for me to study with a Taoist priest, scholar of Zen Buddhism, and scholar of traditional arts who had just escaped arrest during the Cultural Revolution in China, around the time the mob nearly dragged Chou En Lai, officially the leader of the Cultural Revolution and a friend and ally of my teacher since 1920 at the Whampoa Military Academy, into the street for execution.
I called him Sifu Lung, Teacher Dragon, because of a story he told on the day we met, a version of Plato’s Allegory of the Cave; I had been startled by the sudden fluid movement of his enormous shadow, like a flight of silent birds, in the still room of his study through moon gate doors which like a gaping mouth opened into the chasms of darkness of a gorgeous pillared temple illuminated only by the many incense sticks which glowed like eyes of fire. And I asked, “Why is your shadow so huge? And it moves.”
“Once we were dragons,” he began, “we were vast, without end or beginning, and we filled the universe. But when humans came there was no place for them, and they could not see us all at once; so we became small, lost our greatness, and found ways to share our world. We abandoned eternity and the rapture of the heavens for the stewardship of humankind, who refuse to venture out of their cages and discover what lies beyond their boundaries.
But you can see me because your cage has not yet been built, and because we are alike in our powers of vision and illusion. This suggests possibilities. So I will teach you how to fight as you wish, but also how to grow beyond your limits and find your greatness.”
Next would be the family storyteller and unofficial uncle of my boyhood, William S. Burroughs, with his bizarre tales of magical battles, adventures in strange realms, and of monstrous and wonderful beings, a friend of my father who was an underground theatre director in San Francisco and a collector of unusual people.
Of Burroughs I have written in celebration; a pivotal figure of my youth, one of my father’s Beatnik friends who among the writers, artists, musicians, and film and theatre people he collected was all of those as well as a magician and scholar of the occult, and a wise and kindly mentor.
An encyclopedic and phantasmagorical body of work, full of dark satire, science fiction tropes, chaos, magic, songs of anarchy and freedom, and a beautiful unbounded transgression, William S. Burroughs wove revolutionary socio-political insights together with the glorious madness of Dionysian ecstatic vision.
Combining in his person Existentialism and Surrealism, his work is driven by two great themes; rebellion against Authority and the dreamquest of a magician to become a god.
The first of these themes being Sartrean Authenticity and a Promethean rebellion versus Control, a personification of all forms of thought control and normalcy, referential to Camus, Genet, Nietzsche, the English Romantics, de Sade, and most of all Georges Bataille, whose post-Freudian analysis of sociocultural forces and institutions, developed within the theoretical framework of Levi-Strauss and structural anthropology, indict Authority as a means of dehumanizing and shaping us into the tools of our own governmental, religious, and economic enslavement. The influence of Bataille on William S. Burroughs cannot be overstated.
His second major theme is ecstatic vision and transcendence as a path of liberation from the material world, a sublimity achieved through the derangement of the senses; sex, drugs, violence, and the pursuit of the extreme and the bizarre. As in the early novels of his direct model Jean Genet, a major theme in this is the seizure of power and authenticity through transgression of the Forbidden.
This includes the many magical subterfuges and arcane disciplines he practiced, first among them being the cut-up method of randomization to reveal hidden truths invented with Brion Gysin and intended as a ritual of prophecy derived from the I Ching, the inspiration for which Burroughs once told me was Leibniz’s famous claim to have invented binary mathematics when reading the I Ching in his hunting lodge in Bavaria when he had the primary insight that the whole universe can be constructed of combinations of one and zero.
The works of William S. Burroughs may first be read as an interrogation of the four principles of Leibniz, Non-Contradiction, the Identity of Indiscernibles, the Principle of Sufficient Reason, and the Principle of Bivalence, as illuminated in the conversations of Aristotle, al Farabi, Avicenna, Aquinas, Kant, Russell, Wittgenstein, Carroll, and Korzybski, and playing the other side of the board Heraclitus, Nagarjuna, al Ghazali, and Hui Shi.
Second is the technique of juxtaposition developed from Tristan Tzara’s Dada and Monet’s principle; “Man has two eyes through which he sees the world; one looks outward, and the other looks inward, and it is the juxtaposition of these two images which creates the world that we see.”
Here in juxtaposition is a praxis of his values in the second dimension of Burrough’s thought, his context within the lineage of Romantic Idealism; Prometheus and Milton’s rebel angel, Shakespeare in The Tempest, Byron and his sources Jean-Jacques Rousseau, Johann Wolfgang von Goethe, and Friedrich von Schiller, then Mary Shelly’s Frankenstein, Keats, Blake, and Coleridge, Emily Bronte’s Wuthering Heights, Melville’s Moby Dick, and Nietzsche’s Thus Spake Zarathustra.
Third we must recognize that William S. Burroughs is primarily a mystic and Surrealist, obsessed with experiments with telepathy, precognition, shapeshifting, out of body travel to other dimensions and times, curses and psychic conflicts with malign and alien forces which reflect those of H.P. Lovecraft, and a unique and personal spiritism akin to that of voodoo which I would call Jungian shadow work. In this aspect he resembles Philip K Dick, prophet of the transhuman, Carl Gustave Jung and Vladimir Nabokov in Ada, and all of his fellow Surrealists.
Of direct influences among Surrealists we must count Djuna Barnes’ Nightwood, Rene Daumal’s Mount Analogue, Ionesco’s Rhinoceroses, Jarry’s Exploits and Opinions of Dr. Faustroll, Pataphysician, Reverdy’s The Thief of Talant, Michel Leiris‘ Nights as Day, Days as Night, and Journey to the End of the Night by Louis-Ferdinand Céline.
As to his language and style we must trace his origins in the Surrealist poets and their influences and references; Charles Baudelaire, Arthur Rimbaud, and de Lautréamont, Stéphane Mallarmé and Guillaume Apollinaire, Paul Éluard, René Char, and Phillip Lamantia.
All of William S. Burroughs’ works may be read as conceptual art representing surrealist films in the tradition of Cocteau, Artaud, Dali, David Lynch, Wim Wenders, Tim Burton, Alejandro Jodorowsky, and Guillermo del Toro.
He began along this path as a child when he became the avatar of a chthonic being conjured by his Welsh nanny in the rite of Calling the Toad; and thereafter sought transformation and transcendence in forms ever more strange. This he claimed was the toad that Nietzsche feared he must swallow, which was transferred to him as a spirit guardian and oracle of wisdom, a succession of bearership as a mystery initiation into which he inducted me through storytelling as ritual. Upon each completion we would recite together Prospero’s line in Act V, Scene 1 of William Shakespeare ’s The Tempest; “This thing of darkness I acknowledge mine”.
This canon of stories, possibly invented on the spot and told over some time intermixed with fabulous and strange versions of Grimm’s Fairytales, now seems to me similar in intent to Ted Hughes’ reimaginations of mythology attempting to construct and reawaken a lost faith. He never wrote them down, unfortunate as unlike his books they were suitable for young adults if not children and coherent in a way his novels, constructed of episodes he called turns as in vaudeville acts, are not. One day I may do so for him.
I wrote my first story, Dream of the Toad, when I was twelve and immersed in Frazier’s Golden Bough and other myths, folklore, and fairytales, inspired by the wonderful stories he told of growing up stepping back and forth between our world and a parallel, magical one, filled with living figures from fairytales and myths in delightfully bent and off-center versions of their stories, as he and my father played chess of an evening and the coals of the fire burned low, enveloping us in the gathering darkness.
To me, William S. Burroughs will always be a kindly and urbane but tormented gentleman, a Trickster figure and Guide of the Soul, bearer of hidden signs and wounds, a charming rascal and unofficial uncle steeped in classical literature he could recite from memory, full of mischief and secrets and whom you could trust with your own.
Years after his time as a figure in our home, I first read his books as a teenager immersed in the grimoires of medieval magic, James Joyce’s Finnegan’s Wake, and Ludwig Wittgenstein’s Tractatus Logico-Philosophicus as guides to universal principles of creating ourselves through language, when I discovered the stunning vistas of his transgression and disruption of gender, as he had never said or signaled anything inappropriate within my sight or hearing as a child. So also with his anarchism and reimagination of Marx in fiction as the Algebra of Need.
He always liked my Dream Labyrinth wall, a floor to ceiling collage of Hieronymus Bosch and other strange images opposite my bed which I changed and elaborated constantly throughout my teenage years. Bizarre drawings like cinematic storyboards would be found added after his mysterious arrivals and departures. He loved illusions, grand entrances and ghostly exits, and above all humor, by which to keep the world off balance and step nimbly by its obstacles.
His books are also a Dream Labyrinth, which together form maps of the unknown and of possibilities of human meaning and being, as well as topologies of transformation as a Hall of Mirrors.
William S. Burroughs remains an important vehicle of transmission of the whole western mystery tradition, indebted as he is to Philippe Soupault for his interpretation of William Blake and to Georges Bataille for his interpretation of Nietzsche and Freud.
One can also speak of Burroughs the magician of poetic vision and ecstatic trance in terms of Dionysius and Orpheus, and the literature of ceremonial magic as was Jung, immersed in Gnosticism, Theosophy, Rosicrucian occultism, Egyptian mythology, shamanism, tarot as he gave me my first deck of cards which I have to this day and taught me their use, I Ching, Kabbalah, alchemy, and all of this through Aleister Crowley whom he claimed as a source of discipleship and interpreted through his direct model, H.P. Lovecraft, of whom he once said; ”I wish Lovecraft wrote fiction. Some truths are too terrible to invoke by their names.”
Burroughs’ conspiracy of Venusian insects to conquer humankind through drug addiction as a metaphor of capitalism, summarized in his formulation of Marxism as The Algebra of Need, is an appropriation of Lovecraft. The master and his disciple were also both serious scholars of the occult obsessed with dark magic, who saw in mysticism a tradition of counterculture and dissent, as with the martyrdom of the Templars and the heroic Jacques DeMolay.
Naked Lunch is a masterpiece and classic of literature; Junky and Queer are among his other autobiographical novels modeled on those of Jean Genet. Like those of Genet, his stories are parodies and subversions of sacred rituals intended to liberate us from authority and free the creative imagination to forge an authentic humankind.
The Nova Trilogy: The Soft Machine, The Ticket That Exploded, and Nova Express, further explores addiction as a metaphor of social control and the destructive nature of capitalism. His idea of the Ugly American as a malign intrusive alien entity and force which must be exorcised parallels and is referenced by Malcolm X’s personification of heroin addiction as a White Man who must be cast out.
One of the most accessible of his works is his book on the gangster Dutch Schultz, a dialectical journal in the classical form of a Jesuit report recording the actual last words of the gangster in one column and Burroughs’s commentary in the other- complete with cinematography notes.
America, a trilogy including Cities of the Red Night, The Place of Dead Roads, and The Western Lands, a triumph of Surrealism in epic form and a masterpiece, has a clarity of prose and the imprint of a master artist at the summit of his powers. As a prank I once switched them for the actual American History textbooks in a high school class; strangely no one objected and I had to go right on teaching through the semester with it as myths of national identity. I think we had more fun with this subject than is usual.
The Revised Boy Scout Manual is a brilliant parody and a manual of anarchist revolt and the overthrowing of governments. Along with T.E. Lawrence’s Seven Pillars of Wisdom it is among the finest classics of direct action and guerrilla warfare one might consult.
The Cat Inside is a delightful and precious allegory of freedom and rebellion, a meditation on values which extends Nietzsche’s analysis of master- slave psychology to a philosophy of anarchist liberation, which references Nietzsche’s interpreters Karl Jaspers, Maurice Blanchot, C.G. Jung, and Gilles Deleuze.
The Wild Boys envisions feral youths in rebellion against the Authority that created them, a dystopian future in which man’s animal nature has been betrayed by civilization but which also has the power to redeem him, the final part of his Anarchist trilogy which extends his recurrent theme of werewolves as symbolic of our essential wildness and unconquerable nature and a type of Nietzschean Superman; beyond good and evil. As he wrote it during the period of his visits, I have often wondered how much of it was drawn from my father’s ideas and the claim of our family history that we are not human but werewolves, and had been driven out of Europe for that reason; Martin Luther referred to my ancestors as Drachenbraute, Brides of the Dragon, and we were driven out of Bavaria in 1586 at the beginning of a forty-four year period of witchcraft persecutions. He was writing it during the Stonewall Riots, which may be a more direct context as a fictionalization of the witness of history. It is also filled with episodes from the glory days of his youth and set in Mexico and Morocco as imaginal realms.
When I asked him, at the age or nine or ten, if I was in his book and what he was writing about, he said; “Freedom, nature as truth and civilization as addiction to wealth and power and theft of the soul, and how our pasts get mixed up with our futures.”
The Wild Boys reimagines The Egyptian Book of the Dead, of which fellow Surrealist and poet Philip Lamantia was a scholar, also the subject of his final novel The Western Lands as is H. P. Lovecraft’s The Dream Quest of Unknown Kadath, references Octave Mirbeau, Bataille, Genet, and extends de Sade and Rousseau’s ideal of the natural man as uncorrupted by civilization and unlimited by its boundaries, as truths immanent in nature and written in our flesh, in a reversal of Freud’s ideology of civilization as restraint of our nature. David Bowie created his character of Ziggy Stardust based on The Wild Boys; Anthony Burgess’s A Clockwork Orange and H.G. Wells’ The Island of Doctor Moreau here mingle and intertwine.
The Black Rider: the casting of the magic bullets, a theatrical collaboration with director Robert Wilson & the magnificent Tom Waits, is a can’t miss.
Exterminators collects thirty short stories, the Collected Interviews 1960-1997 edited by Lotringer are fascinating, as is The Adding Machine: essays.
Interzone is a travel journal, but only on the surface to the Marrakesh of Beatnik glory, as it also recounts the Lovecraftian plot to enslave humanity through heroin by fascist insects from Venus.
All the works of William S. Burroughs are masterpieces of Anarchist liberation and transgression, Surrealism and occult mysticism, even if difficult because they are told in collages of random and nonlinear episodes, with an iconography that is bizarre and obscene. In spite and possibly because of this, they remain among the great classics of world literature, revealing endless chasms of darkness and infinite possibilities of rapture and illumination.
All true art defiles and exalts.
Go ahead; swallow the toad.
Thereafter follows a chance encounter of my university years which became decisive in the direction of my life, Susan Sontag who was a kind of muse and provocateur.
One unforgettable afternoon, as a young university student lingering in museum, I found myself standing before an incomprehensible painting lost in thought when I became aware of someone very close behind me, out of sight, also silent.
Several minutes must have passed before the presence spoke, asking “What do you see?” I forget how I answered, but as I moved to turn away and find something easier to behold (it may have been I need something easier) hands delicately lighted on my shoulders, almost not there, but fixing me in place, pinioned before my subject.
And she said, “Look again”.
This was Susan Sontag, who remained the afternoon to discuss art and other subjects, shifting topics without warning to unrelated fields, epigrammatic statements, bizarre quotations, and somehow bringing it all together in devastating insights, a dazzling and bewildering conversation, with eyes that could see right through a thing to its heart, intimate and not a little terrifying.
She spoke as if she were a hyperdimensional being, unbounded by time and space and assembling collages of meaning from disparate realms. I’m not surprised people had difficulty following her narratives, but it was always worth the effort to understand.
For she will always be with us, a presence just out of sight, saying “Look again”.
This, the moment of our first encounter, occurred sometime after her 1980 publication of Under the Sign of Saturn, by some measure a final and apex achievement of her revisioning of humankind, and before my September 1982 conversations over strawberry crepes at breakfast with Jean Genet, in Beirut after my summer of gourmet travel became a summer of resistance to the Israeli invasion and siege.
In Susan Sontag I discovered a fellow in the adoration of Wagner and the opera in general but also of David Bowie, and in the uncommon vice of being both a classicist and a radical postmodernist influenced by French theory in apprehension and inclination regarding literature and the arts, academic tribes often siloed and unable to comprehend or discuss works beyond their own specializations. Susan transgressed boundaries, curious about everything as was I, and there never was a better companion with whom to solve unknowns or parse meaning from the shock of the new, whether in art, music, or literature, than Susan Sontag, for unlike Nietzsche she said yes to life, and refused nothing.
She it was who signaled for me a reframing of dialectical struggle in humanistic terms; the self is literally a persona or theatrical mask, and the first revolution in which we all must fight is the struggle between the masks we make for ourselves and those made for us by others.
Susan Sontag referred to the differences between a thing and its image as the creative potential between bounded realms, a theme which runs through all her works and accounts for her interest in pop art and photography. I describe this as Chaos or the adaptive range of the system of self and society.
Could I but wield the power of wishes I would grant us all her transparency of insight and the ability to transform ourselves and our world through imaginative vision, to make of life a work of art. Each of us must find this for ourselves.
Her collections of essays, which source Georges Bataille and Maurice Blanchot for her aesthetics and ideology of Art, especially in the reinterpretation of Nietzsche, include Against Interpretation, Styles of Radical Will, Under the Sign of Saturn, Where The Stress Falls, and the monumental On Photography, and her novels The Benefactor, Death Kit, The Volcano Lover, and In America, are together a superb introduction to American arts & letters, as I think they shall remain for some time.
The Benefactor is a masterpiece which explores homosexuality as both identity and desire and describes coming out as an escape from a Dream of Mirrors. A deconstruction of Freud by way of Gaston Bachelard and others, it provides a tour of critical theory and applies the methods of Derrida and Foucault, the philosophy of Sartre and de Beauvoir, and the aesthetics and mystical dream quest of Surrealism to issues of gender, sex, and power.
Death Kit is a metafictional novel of polyphonous layered images, cleaving tightly to the model of Camus, and references Maurice Blanchot as he faced mock execution by the Nazis in 1944 as an existential crisis.
The Volcano Lover presents literary history as an unfolding of intention through the lives of its characters. Time, memory, history, and the struggle for meaning and self ownership are among the interdependent constellation of themes which echo those of Vladimir Nabokov, and like his explorations of them Susan Sontag’s works can be read as teleological questioning of the nature of being, of the cosmic fate and order of the universe and its meaning, and of our place in it.
In America explores possible reinventions of ourselves and our nation. Read it together with its companion work, Philip K. Dick’s alternate universe puzzle The Man in the High Tower; they are metaphysical and ideological topologies which Janus-like present very different faces of the same Surrealist quest.
An icon of the magisterial arbiter of culture as well as the literary rebel and a type of the New York Intellectual, arguably the last of her kind in the latter case as she seems to have overthrown herself and the authority of her own class, Susan Sontag is a universal reference known to all as the woman who monkeywrenched hierarchies of aesthetic value and leveled high art with pop culture, legitimizing Warhol’s Factory among other revolutionary acts.
And she argues that the historical memory from which identity grows is undergoing a massive transformational change from a literary-linguistic to a photographic-visual basis, from words to images, and represents a shift in human consciousness comparable to the invention of language. She wrote at the dawn of a new humanity as its Pythian seer, and like the original mythic figure was not always understood or believed.
As to the painting, an abstraction of a classical Japanese koi pond, my answer at second look was “Movement- these forms are in a series of states of transition, with the symbols alongside, not ideograms but where one might expect a poem, acting as time marks like in a musical score. This is an allegory of change.”
To which she said, “Yes it is! Who are you? Oh, I’m Susan.”
I reached out to shake hands during introductions; she took my hand, and did not let it go.
Finally there was Jean Genet who swore me to the Oath of the Resistance during the Siege of Beirut in the first of many Last Stands.
As I wrote in my celebration of his birthday; Among the great iconoclasts and poets of liberation, Jean Genet became himself a figure of the Rebel so anointed by Sartre; but also he is a Saint and mystic whose fictionalized autobiographies are filled with Catholic, Gnostic, and Classical symbolism and themes, Jungian archetypes, and references to Romantic Idealism and Surrealism.
As did Keats, he chronicles a voyage of discovery in search of Love and Beauty as Platonic Ideals which are both transcendent and immanent in nature; passions which transport us beyond our limits as ecstatic vision and their values and hidden principles which are truths written in our flesh.
His was the red flag of revolution; Jean Genet directly worked with the Black Panthers, the anticolonialist rebels of Algeria, Communist and other Antifascist groups in America and Europe, and for the freedom of the Palestinians. In many ways both his career as a revolutionary and his literary works parallel those of Albert Camus.
But interdependent with his political work as an agent of change is that of a visionary whose mission is to regenerate the world. In the Surrealist works of Jean Genet do the forces of conservatism and revolution intertwine like the twin serpents of Asclepius, god of healing dreams.
The Thief’s Journal is a classic of world literature and a universal reference, the usual entrance to his world of ideas. Jean Genet describes herein his youthful wanderings throughout Europe, his burglaries constructed as parodies and inversions of Catholic religious rituals and of authorized Ideals. Both his homosexual relationships and his crimes against class and property are transgressive acts of revolutionary liberation in a grand subversive campaign of freedom.
Yet concealed within this contextual glove is a heroic quest for meaning and a rebellion in the Romantic tradition; to smash through the mask of illusions and seize the true and naked Infinite in its splendor. As did Ahab, Victor Frankenstein, Milton’s rebel angel, and Prometheus, Jean Genet sought to cast down false idols and rekindle the sacred fire.
All of these figures, images, myths, and sources of iconography appear throughout the early Great Books of Jean Genet, along with themes and ideas from Blake, Coleridge, Virginia Woolf’s Orlando; a symbology and thematic system which reveals a deeply learned scholarship.
In this quest Jean Genet enacts and references Nietzsche’s Zarathustra and an immersion in the ecstatic Dionysian principle from The Birth of Tragedy, his interpretation of which is informed by Carl Gustave Jung’s lectures published as Nietzsche’s Zarathustra from the 86 seminars he chaired over 11 university terms on the great poem, and on the nuanced and erudite revisioning of Nietzsche by Maurice Blanchot.
Of his numerous influences and references, his works await the great scholar who will annotate them and restore their place among the canon of literature and their relevance to our lives; so also with the geniuses who were influenced by him, including among them William S. Burroughs with whom he is intertwined like a secret twin or the faces of Janus.
Our Lady of the Flowers, a prison journal which is also a descent into a Dantesque underworld narrated by his alter-ego, a female identified character named Divine, for whom the muse of John Waters is named, who is both Beatrice as guide of the soul and the pilgrim figure as holy spirit and Bride of God. It is a Gnostic-Jungian text full of medieval symbolism and classical references, which describes parallel narratives of Persephone’s myth and the alchemical regeneration of the fallen world through the sapientia dei. In short, it is an unheralded masterpiece which draws ideas from the Divine Comedy and reimagines the whole western tradition of occult religious mysticism as a unified system of thought, and a map of the rebirth of civilization and the human spirit.
Of his plays, The Balcony is a stunning satire of power structures as ritualized role playing in a brothel’s hall of mirrors, and The Blacks explores race and identity as a game of masks in a furious condemnation of white privilege.
Treasures of the Night: collected poems is both beautiful and wonderfully subversive and dangerous, a call of beckoning sirens. Who among us has not heard that call, and ventured forth into the ravishing darkness?
The Declared Enemy collects his political essays, while Fragments of the Artwork does the same for his writings on art.
Prisoner of Love is a memoir of the two years he spent in Palestinian refugee camps, a final meditation on being an Outsider and the meaning of rebellion.
Though he doesn’t mention me in the book, I will never forget our conversations at breakfast during the Fall of Beirut to the Israeli siege in the last days before his capture, for this is where he swore me to the oath of the Resistance and set me on my life’s path of struggle for liberty against tyranny and autocracies of state force and control, for equality against racist injustice, and against the fascism which combines both tyranny and white supremacist terror.
I have been engaged in revolutionary struggle, in the resistance to fascism and tyranny, and in the quest for our liberty and democracy, since the summer of 1982 when my culinary explorations were so rudely interrupted by the Israeli invasion of Lebanon and the Siege of Beirut, and I will resist injustice til the end. To all masters and tyrants in all worlds now and yet undreamed, I say with Ahab; “To the end I will grapple with thee.”
With the streets suddenly filled with Israeli soldiers running amok in a sack of murder, arson, and other vileness of terror and inhumanity, and the discovery of our only weapon being the bottle of champagne we had just finished with our strawberry crepes, I asked my breakfast companion if he had any ideas. To this he replied with an apologetic shrug and another question, “Fix bayonets?”
We laughed, and he elaborated; “When all hope is lost, we are free to do impossible things, glorious things.” This advice I find necessary to recall from time to time, and which I recommend to you all.
Then he asked, “Will you surrender?’
To which I replied, “No.”
“Nor I,” he said, standing. “As I share with you now, pass to others at need; this is an oath I devised in 1940 from the one I took as a Legionnaire, for the resistance to the Nazi occupation. It may be the finest thing I ever stole.”
And so I offer to all of you the Oath of the Resistance as it was given to me by Jean Genet in a burning house, in a lost cause, in a time of force and darkness, in a last stand and an act of defiance beyond hope of victory or survival; “We swear our loyalty to each other, to resist and yield not, and abandon not our fellows.”
So for the informing, motivating, and shaping forces which forged me as I grew up and became who I chose to be, like all humans a self created being who has assimilated qualities through direct transmission and successorship from those who offered aspirational selves and identities.
Are we not the stories we tell about ourselves, to ourselves and others?
Edward Albee, a reading list
Stretching My Mind: The Collected Essays of Edward Albee, Edward Albee
Who’s Afraid of Virginia Woolf?, Edward Albee
The Goat, or Who is Sylvia?, Edward Albee
Edward Albee: A Singular Journey, Mel Gussow
Conversations with Edward Albee, Philip C. Kolin
Irrevocably Intertwined: Analyzing the Plays of Edward Albee, Greg Carlisle
William S. Burroughs, a reading list
The Wild Boys: A Book of the Dead, William S. Burroughs
William S. Burroughs’ “The Revised Boy Scout Manual”: An Electronic Revolution, William S. Burroughs
https://www.goodreads.com/book/show/38749604-william-s-burroughs-the-revised-boy-scout-manual
Cities of the Red Night, William S. Burroughs
https://www.goodreads.com/book/show/23944.Cities_of_the_Red_Night
The Place of Dead Roads, William S. Burroughs
https://www.goodreads.com/book/show/24509.The_Place_of_Dead_Roads
The Western Lands, William S. Burroughs
https://www.goodreads.com/book/show/257506.The_Western_Lands
The Last Words of Dutch Schultz: A Fiction in the Form of a Film Script,
William S. Burroughs, Dutch Schultz (Contributor)
https://www.goodreads.com/book/show/257594.The_Last_Words_of_Dutch_Schultz
Literary Outlaw: The Life and Times of William S. Burroughs, Ted Morgan, William S. Burroughs
The Magical Universe of William S. Burroughs, Matthew Levi Stevens
https://www.goodreads.com/book/show/23597106-the-magical-universe-of
-william-s-burroughs?ac=1&from_search=true&qid=fsZcWrQ1jZ&rank=1
With William Burroughs: A Report From the Bunker
by William S. Burroughs, Victor Bockris
Susan Sontag, a reading list
Against Interpretation and Other Essays, Susan Sontag
On Photography, Susan Sontag
Under the Sign of Saturn: Essays, Susan Sontag
Susan Sontag: The Complete Rolling Stone Interview, Jonathan Cott
Jean Genet, a reading list
The Selected Writings of Jean Genet, Jean Genet, Edmund White (Editor)
Our Lady of the Flowers, Jean Genet, Jean-Paul Sartre (Introduction)
Miracle of the Rose, Jean Genet
The Thief’s Journal, Jean Genet, Bernard Frechtman (Translator), Jean-Paul Sartre (Foreward)
Prisoner of Love, Jean Genet, Barbara Bray, Ahdaf Soueif (Introducer)
The Declared Enemy: Texts and Interviews, Jean Genet, Albert Dichy (Editor),
Jeff Fort (Translation)
Saint Genet: Actor and Martyr, Jean-Paul Sartre
Genet: A Biography by Edmund White
https://www.goodreads.com/book/show/129139477-genet?ref=nav_sb_ss_1_34



