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A Report on The Final Academy: Then & Now

17th October 2012 sees the publication of Academy 23, an ‘unofficial’ celebration of William S. Burroughs & The Final Academy, compiled & edited by Matthew Levi Stevens & Emma Doeve of WhollyBooks. Contents will include:

– articles, essays & reviews from Michael Butterworth of Savoy Books, John Coulthart, Paul A. Green, John May, Mike Stevens, and David S. Wills

– new & previously unpublished prose material from ‘Here To Go’ Show veteran Joe Ambrose, William’s former Naropa companion Cabell McLean, and Matthew Levi Stevens

– an account of a conversation with William S. Burroughs about books & magic, which took place at the time of The Final Academy

– an exclusive interview with Phil Hine, in which he talks about visiting William S. Burroughs, and his relationship to Chaos Magic

– photos of a visit with Brion Gysin from former Psychic TV associate Bee, and of shooting with Uncle Bill from Spencer Kansa

– original artwork by Emma Doeve in response to The Wild Boys

– extracts from an interview with Terry Wilson on meeting William & Brion, Here To Go: Planet R101 and finishing Perilous Passage

As well as its announcement online, Academy 23 will also have its launch at the event FINAL ACADEMY/2012 @ The Horse Hospital, Bloomsbury, London on Saturday 27th October. Organised by Joe Ambrose (who also co-produced Destroy All Rational Thought and 10% File Under Burroughs with Frank Rynne, and is himself a contributor to Academy 23), the evening will feature films, music & spoken word:

‘Words of Advice: William S. Burroughs On The Road’ (directed by Lars Movin & Steen Møller Rasmussen) which features previously unseen footage of Burroughs on tour in the late 80s, plus rare home movies of Burroughs in Kansas towards the end of his life. Contributors include Patti Smith John Giorno, Islamic Diggers, and Bill Laswell;

‘Language Virus’ by celebrated graffiti artist Raymond Salvatore Harmon with music by Philipe Petite;

Soundtrack for the event provided by Testing Vault, The Plague Doctors (featuring Final Academy Mix by DJ Raoul), Islamic Digger No1. One Way, Alma featuring Joe Ambrose;

There will also be discussion, introductions, & readings from author & poet Paul A. Green, artist Liliane Lijn (who knew Burroughs & Gysin in Paris in the early 60s), ‘Post-Industrial’ veterans Robin Rimbaud aka Scanner & Matthew Levi Stevens, and novelist Tony White.

Udo Breger and Terry Wilson have sent their best wishes, and both publication & event have received endorsement from original prime-mover of The Final Academy, Genesis P-Orridge, who sent the following email of encouragement & support:

Dear Matthew,

How great to hear from you! We really DO appreciate your mentioning our work in staging the First Final Academy. The original idea we had was to HOPE that further variations would occur. After so long it is good to see the meme expanding. we hope we see the book when it is finally out and wish you every success and FUN in all these activities.

Genesis

“VIVA LA EVOLUTION !!!”

 

‘Academy 23’

In the Beginning was the Word, in this case the words that William S. Burroughs wrote for British ‘men’s magazine’ Mayfair while he was living in London in the 1960s. Some years previously a young aspiring writer called Graham Masterton had written to Burroughs when he was still living in Tangier. By 1967, Burroughs was living in London and Masterton, who had landed the job of deputy editor for Mayfair, visited him at his Duke Street, St. James apartment to ask if he had any material he would like to contribute:

“He had long had the concept of an academy at which he could expound and discuss his ideas on government repression and big business and the future of social control, so I suggested that he write a series of articles which we would call The Burroughs Academy.”

The theme of an “Academy” where the young could be taught “a true and different knowledge” was one that engaged Burroughs increasingly as the 60s Revolution progressed. At the height of the Counter-Culture, he even entertained the notion of purchasing Boleskine House on the shores of Loch Ness, former home of Occultist Aleister Crowley (which was in fact later bought by Led Zeppelin guitarist Jimmy Page, at the time himself an ardent admirer of the self-styled “Great Beast”), but funds were lacking. Instead William Burroughs created a ‘virtual’ academy: first in the pages of Mayfair, then in the various articles for the Underground Press, and books like The Job and The Wild Boys. In a letter of 17th October 1968, he tells Brion Gysin: “Have finished the book of essays and interviews entitled Academy 23…” and although it would not in fact come out under that name, in its final published form as The Job the book of interviews with Daniel Odier, augmented with auxiliary texts, would include a long section entitled Academy 23. (As can be seen in the recent Rub Out The Words: The Letters of William S. Burroughs 1959-1974, this desire to create some sort of ‘handbook’ would feed not only into the likes of The Job and The Revised Boy Scout Manual but also, ultimately, The Third Mind.)

Fast forward to the late 1970s, and another young man who had made contact with Burroughs during his London years, performance artist and “wrecker of civilization” Genesis P-Orridge, was also thinking of an academy… a FINAL academy. The Wild Boys re-envisioned via ‘Industrial Music’ as “psychick youth” – with a Temple all of their own. Uncle Bill and Gen had struck up a friendship of sorts in London in the early 70s, and through Burroughs Gen had also met Brion Gysin and Terry Wilson, who attended early Throbbing Gristle concerts such as the ICA launch and the show at the Nag’s Head. TG were profoundly inspired by Burroughs & Gysin and the idea of the Cut-Ups, particularly in relation to sound and the infamous tape-recorder experiments. TG co-founder, Peter ‘Sleazy’ Christopherson, had experimented with found-sound and location recordings, building equipment to manipulate tape playback long before the modern sampling revolution. He had also bonded with Burroughs when he visited him at The Bunker to show him some of his photographic work featuring young male models that Burroughs was very taken with. TG’s sidekick Monte Cazazza recorded a rendition of Brion Gysin’s permutation poem ‘Kick That Habit Man’ for their label, and many of the key ‘Industrial’ bands cited Burroughs & Gysin as primary influences. Later, when Antony Balch died P-Orridge was instrumental in saving the original film-reels of his work, and TG’s Industrial Records would release the first ever LP of the Cut-Up tape experiments, ‘Nothing Here Now But The Recordings’.

 

‘THE FINAL ACADEMY is not a homage but a development towards the future…’

– From the original press-release

 

The Final Academy is an apocalyptic term. It is the place where knowledge and anti-knowledge are going to war.”

Genesis P-Orridge interviewed by Chris Bohn, NME, 25th September 1982

‘William Burroughs and Brion Gysin are two explorers of these New Lands [(that) little explored sit upon our shoulders] Both have shown courage in revealing their private thoughts, feelings, ideas and fantasies… Both have revealed the control mechanisms of those in power and seek to disarm them. But theirs is not a nihilistic gesture. They offer a future, a body of information that is beautiful, funny, and frightening and which points to the making of a New World.’

Roger Ely, Statements Of A Kind

 

Organised by David Dawson, Roger Ely, and Genesis P-Orridge, The Final Academy consisted of a series of main events over four days @ The Ritzy Cinema, Brixton: 29th September to 2nd October, 1982. William S. Burroughs & Brion Gysin would be celebrated in film, music, performance and readings. The famous experimental films shot by Antony Balch in the 1960s would be shown each night. There would also be performances by the experimental music groups that had been inspired by their example: 23 Skidoo, Last Few Days, Cabaret Voltaire and the debut of Psychic TV (recently formed from the ashes of Throbbing Gristle), as well as a variety of other poets and performance artists. Some, like John Giorno & Terry Wilson, were of course friends with Burroughs & Gysin; others, like Anne Bean, Paul Burwell & Ruth Adams, were associates of Roger Ely from the B2 Gallery.

An exhibition of Brion Gysin paintings, complete with Dreamachine, collages from The Third Mind, and scrapbook material ran concurrently at the B2 Gallery, Wapping. There was also a book-signing @ Compendium Books in Camden Town, William supported by Victor Bockris: A William Burroughs Reader, Cities of the Red Night and A Report From The Bunker: With William Burroughs all hot off the presses – and Here To Go: Planet R101 by Brion Gysin & Terry Wilson and the Burroughs/Gysin/TG special, both from RE/Search.

There were also ‘Regional Events’: Burroughs, Giorno, & Psychic TV @ The Haçienda, Manchester on October 4th; Burroughs, Giorno & Jeff Nuttall @ The Centre Hotel, Liverpool on October 5th; and a one-off @ Heaven, Charing Cross on October 7th, billed as: William S. Burroughs, John Giorno, Marc Almond, Heathcote Williams + Derek Jarman, Psychic TV, Last Few Days, Cerith Wyn Evans [at which Marc Almond will gamely cover Throbbing Gristle’s “marching music for psychick youth” anthem ‘Discipline’ for the first time!]

I had made contact with Throbbing Gristle as a 14 year-old-schoolboy fan, already very much into William Burroughs. It seemed like no sooner had I met them than TG split, and over the next year or so Gen & Sleazy’s half evolved into ‘Psychic Television Limited’, with its attendant Conceptual Art gag masquerading as Fan-Club pretending to be a Cult, ‘Thee Temple ov Psychick Youth’ (sic). I was close friends with Geff Rushton (later ‘John Balance’ of Coil), only a couple of years my senior when he got together with Sleazy. Through my friendship with them I found myself for a while part of a circle that revolved around the ideas of Aleister Crowley and Austin Osman Spare: all Astral Projection, Dream Control, Sex-Magick and Sigils. Equally, the life & work of Burroughs & Gysin – with their Cut-Ups, Dreamachine, Playback, and Third Mind – offered a toolkit for similar ends.

“Dear Mom and Dad: I am going to join The Wild Boys. When you read this I will be far away…”

End of September, 1982: barely a month shy of my 16th birthday, and for my sins I am a “Psychick Youth” – aspirant and unrepentant. The PTV entourage duly went to meet with The Old Man upon his arrival in the UK, and would be a kind of ‘honour-guard’ to William & Brion for the duration of their visits. Derek Jarman documented it all with his trademark Super 8 camera. Klaus Maeck filmed footage of Burroughs for the ‘Dream Sequence’ in Decoder. Sleazy helped set it all up, and can be seen – along with Burroughs & Grauerholz arriving by black cab – in Jarman’s Pirate Tape: a home movie of the filming in a used hi-fi & TV-repair shop behind Tottenham Court Road. Derek Jarman’s former boyfriend Howard Brookner was following the action with a camera, making his documentary Burroughs: The Movie – in much the same way that Victor Bockris had been Court Recorder at The Bunker, making With William Burroughs.

Thanks to Genesis P-Orridge I have a ringside seat when William S. Burroughs arrives. Everybody wants to get their books signed, or have their photo taken with him. I choose to do neither, deliberately. As well as the PTV connection, I am in touch with J. G. Ballard, Eric Mottram, Jeff Nuttall, and know Bill’s old pal Alex Trocchi; I am also a skinny, pale, intense, bookish young boy. I’m sure none of any of these details hurt. Eventually I am in just the right place at just the right time… When I get a chance to speak to William in person, I ask him about Magic, and whether he would care to recommend any books on the subject? Without hesitation he mentions Dion Fortune’s Psychic Self-Defense, even though he qualifies it as “a bit old-fashioned.” Then, without prompting on my part, he begins to talk of Black Magic and Curses in Morocco, travelling with Medicine Men up the Amazon, and Astral Projection and Dream Control. I realise that for Burroughs all this is UTTERLY REAL, the “Magical Universe” in fact. He tells me about a dream he had as a young man, working as an exterminator in Chicago: of watching from a helpless Out-of-Body point of view floating above the bed as his body got up and went out with some unknown and sinister purpose that he was powerless to influence. With a shudder, he tells me that possession is “still the basic fear.”

He asks if I would like to “get some air” and we take a walk round the block. To break the ice, I talk about books: he is delighted to discover that I have read his beloved Denton Welch, also J. W. Dunne’s An Experiment With Time. I have found them in my old school library, and know both have been a tremendous influence on him in different ways. Knowing of his interest I also mention that I have just read Colin Wilson’s The Quest For Wilhelm Reich, published the year before. He likes Wilson, he says, jokes that “the Colonel” with his cottage in Wales in Wilson’s Return of the Lloigor and his own Colonel Sutton-Smith from The Discipline of DE are one and the same.  On something of a roll, I mention Real Magic by Isaac Bonewits, and he acknowledges that it has “some good information” – but is much more enthusiastic about Magic: An Occult Primer by David Conway [years later I would discover that Burroughs & Conway had in fact exchanged letters on various subjects pertaining to magic, occultism, and psychic phenomena – but that is decidedly another story!]

He talks about different kinds of perception, and I hear for the first time his famous remark that the purpose of all Art & Writing is “to make people aware of what they know but don’t know that they know!” He describes the ‘Walk Exercise’, in which you try to see everybody on the street before they see you – “I was taught this by an old Mafia don in Chicago… sharpens your ‘Survival IQ’…  It pays to keep your eyes and ears open” – as well as an on-the-spot illustration of the theory of Cut-Ups as Consciousness Expansion:

“As soon as you walk down the street like this – or look out the window, turn a page, turn on the TV – your awareness is being Cut: the sign in that shop window, that car passing by, the sound of the radio… Life IS a Cut-Up…”

I ask him about Cut-Ups with tape-recorders, a hot topic at The Final Academy. Telling me about his experiments with ‘Playback’ (where recordings are made, cut-up, then played back on location, often accompanied by the taking of photos) he actually describes it to me with a chuckle as “Sorcery!”

The impact of the Cut-Ups is very much in evidence at The Final Academy, you could almost say that it is the one thing that unites all the performers – certainly where the bands are concerned. In his essay The Academy (The Virus Spreads) – which is included in The Final Academy’s lavish program, Statements of a Kind – David Darby writes:

“Terry Wilson has described Cut Up as a form of ‘exorcism’. Burroughs says it is like table tapping; you can use it to read into the future, to see what is about to happen and thereby control it. A variety of today’s music reminds me of this ‘disembodiment’. Holger Czukay, the German musician and psychic believer who edits music… inserting snatches of ghostly voices taken off shortwave radio and TV. The LP My Life In The Bush Of Ghosts by Brian Eno and David Byrne – title taken from the novel by Amos Tutuola, spiritualist and medium – with its mixture of Islamic chant and Black American radio exorcism and evangelism dubbed over strange rhythmic instrumentals… New York’s Grandmaster Flash, who cuts in snatches of other records… Then, of course, there’s Cabaret Voltaire, Clock DVA, 23 Skidoo, Psychic Television, all of whom have declared… a desire now to create a new music with video and taped voices, to redefine music as a percussive soundtrack almost, a muttered trance as much as a dance in which real and imaginary visions are seen…”

Brion Gysin I only met very fleetingly, I was just another boy in a roomful of boys, the youngest and at that stage still something of a star-struck fan. I DO remember his response to our ‘psychick youth’ honour-guard, though: “Gen, I don’t know how you’ve done this, but I’ve never had so many pretty boys being so helpful all day long!” Terry Wilson was also there in his capacity as Brion’s informal secretary, friend, collaborator, and “apprentice to an apprentice” (as Gysin himself had said), and would be one of the performers on the bill as well. He was tall and thin, in a crumpled dark blue suit, pale face “fading away behind a fringe of hair” [as Felicity Mason puts it in her essay for event program Statements Of A Kind] and seemed nervous, shy: on the one hand in awe of Burroughs & Gysin, on the other wary of all the shaven-headed acolytes circling around event organisers Genesis P-Orridge and Psychic TV.

What follows is a ‘taste’ of my piece ‘A Report from The Final Academy’ based on my actual Notes made at the time, previously unpublished. There has been some attempt at reconstruction – mostly with regard to the sets of William & Brion, who performed on all four nights – but otherwise this is as close as possible to my actual impressions & observations of 30 years ago [with the addition of occasional ‘editorial’ hindsight!] Word pictures of a moment in time…

The opening announcement, politely requesting that there is no flash photography and that there must be no recording, seems almost surreal: I have never been to an event that is so obviously being documented for posterity – it seems as if every other person has a camera or tape-recorder of some kind, and the strange binaural recording ‘head’ that I recognise from TG’s concerts is right in front of the stage at all times. I wonder what will happen to all the material?

Each night opens to a soundtrack of tape-recordings from the Burroughs archive, the kind of cut-up experiments that were released just last year as the final album on TG’s Industrial Records label, Nothing Here Now But The Recordings. Films are shown by the late Antony Balch (Gen helped to salvage them after he died of Stomach Cancer in 1980) Bill, Brion, Ian, Mikey Portman and others (hello Alex Trocchi!) in 1960s London, New York, Paris, Tangiers “Hello – Yes, hello – look at that picture – does it seem to be persisting? Thank You!” – Scientology training exercises – Towers Open Fire, The Cut-Ups, Ghosts @ No.9 (or Guerrilla Conditions), William Buys A Parrot – in colour!

The coming together of three generations, “like minds who share the common ground of The Third Mind – located at the intersection point of Cut-Ups, where the future leaks through – where logic is short-circuited, deprogramming Control.” William, Brion and John Giorno the older, literary pioneers; PTV and their pals ‘n’ peers being the younger New Wave. In between a more indeterminate crowd, performance artists and poets with a background in the Arts Lab Scene and ‘Happenings’ – they perhaps are the odder fit. Anne Bean & Paul Burwell acquit themselves well enough with their take on ‘White Man’s Got A God Complex’ (The Last Poets), but the lingering smoke from their fire-crackers didn’t do Brion Gysin’s asthma any favours. I’m not even sure Ian Hinchliffe actually appeared – the stage was in darkness, some barely audible mutterings on tape: was that him? Jeff Nuttall didn’t appear at all: apparently he was supposed to be met at the airport, and when he wasn’t just got on the next plane back to Manchester [a real shame, as I had been looking forward to finally meeting up with him: he has been a friendly, generous correspondent – sending copies of My Own Mag from back in the 60s… When Burroughs & Giorno appear alongside Nuttall later in the week at the reading he has organised at The Centre Hotel in Liverpool, any mention of Psychic TV or The Final Academy will be conspicuous in its absence…] Roger Ely’s story The Legacy was a haunting evocation of the perils of psychic attack and fallout from ritual experiments: a woman obsessed – or even possessed – by the spirit of her dead occultist father. I liked the slides that went with it, too (Ruth Adams?) The whole thing eerie after my first-ever conversation with Mr. Burroughs covering similar territory only the day before… “Possession is still the basic fear.”

The audience is a real gathering of the tribes: art students, bookworms, college lecturers, druggies, hippy survivors, political radicals, punks and queers. Wild Boys – and Girls! – of all ages, and of course a growing number of Psychick Youth. People have come from far and wide: I meet a tres serieux French couple who want to talk about apomorphine, General Semantics (but don’t believe that I have read Korzybski!), and an earnest, grey-clad group from Yugoslavia [Laibach] who have clearly hit it off with Last Few Days & 23 Skidoo.

There are sullen mutterings about the seating, lack of a bar, complaints that the event is “too literary” – others clearly don’t understand the connections: a schoolteacher asks: “What have all these weirdo bands got to do with anything?” Anne Bean is overheard to remark “I am neither psychic nor youthful!” A drugged-up punk girl sneers “Aren’t you a bit too young for all this ‘psychick youth’ bollocks?” – oblivious to the implicit irony. Terry Wilson treads uneasily between the more literary camp and the large circle of Psychick Youth acolytes, who flank Burroughs when he’s not reading. I keep a low-profile and thus secure a ringside seat on the edge of the group. Denise from Vox complains about the level of marketing: “we were constantly being handed leaflets about Giorno Poetry Systems, or Burroughs’ new book, or PTV’s Temple T-shirts. Not nice!” – but I just see this as a clash of cultures: the English ‘well-meaning amateur’ being challenged by American professionalism, and of course Counter-Culture from the Hippies through the Punks and on has always been wary of commercialism (as if nobody has to make a living!) Simon from Sounds is clearly a convert, though: talking of Aleister Crowley, Gerald Gardner, Austin Osman Spare – wants to know how he can get a copy of the PTV videos, gives out his contact details [Simon Dwyer (1959-1997) would later create world-renowned counter-culture journal Rapid Eye, in which he would showcase the likes of Psychic TV, Gilbert+George, Derek Jarman, and Kathy Acker.]

There is a weight of anticipation, expectation, about the launch of Gen & Sleazy’s new venture, Psychic Television, but they will not actually ‘perform’ as such. David Darby’s essay in the program Statements of a Kind suggests these are groups who are fast losing interest in what they see as the outmoded concept of band-on-stage. In the NME the week before, Gen tells Chris Bohn:

“William, Brion and the poet John Giorno used writing because in their day writing was the most vital, living form for propaganda. They got hold of tape-recorders and made films with (the late) Antony Balch, always trying to reapply what they discovered through writing to other media. Now you’ve got groups like Cabaret Voltaire, 23 Skidoo, Last Few Days and Psychic TV who have followed through and used tape, cut-ups, random chats and sound in the way they’ve read or at least been inspired in Burroughs’ and Gysin’s books. They’ve put it, though, into popular culture, i.e. music, which happens at the moment to be the most vital form.”

One solution is the move towards film, slides, video – and Psychic TV would seem to be at the forefront here: if the Revolution IS going to be televised, after all, then PTV are first in line with their bid for the franchise…

As well as the films and readings, each night there is a band:

23 Skidoo, a firm favourite, start off proceedings. Their recently reduced personnel of Alex, Johnny & Fritz have moved far beyond their Post-Punk Funk origins to a new ritual ambience: the sound of bells, cymbals and gongs augmented by tape-loops and gas-cylinder percussion, “urban gamelan.” In Statements Of A Kind, the lavish program for The Final Academy, they describe themselves as “cultural assassins” who “embrace this ceremony of the constant random factor.” Like shaven headed warrior monks, they go about their almost meditative business on a darkened stage – while above them the films flicker like ghost-light…

Last Few Days are new to me, an unknown quantity, but I recognise Fritz from Skidoo, also former TG soundman Danny (‘Stan Bingo’). Cello, clarinet, megaphones, tapes. Their imagery, such as it is, is apocalyptic. ‘Apocalyptic chic’ is very much the thing at The Final Academy. “Ours is a soundtrack for a dying age.”

Cabaret Voltaire are also ‘reduced personnel’ now: down to a duo, Chris Watson has left. They have been recently ably augmented by drummer Alan Fish, but not tonight. Keyboards, movie dialogue and The Reverend Jim Jones cut-up & looped. Ambient music accompanying scratch-mix video – a barrage of cut-up visuals and deprogramming imagery, like their Doublevision release [but definitely NOT the ‘ambient music’ of Brian Eno & co.!]

Genesis P-Orridge introduces Brion Gysin, all in white: “And now, the man who makes the impossible, possible!”

Brion announces that the Cut-Ups are now about 23 years old, “the average age of my musicians, and I hope the average age of the house.” Each night there are songs (“Some old words, and some new tunes”) with music: Ramuntcho Matta (son of the Chilean Surrealist painter) on New Wave Funk guitar – I recognise Tessa from The Slits on cello, and the drummer from Rip, Rig and Panic – plus a percussionist [Giles from Penguin Café Orchestra.]

There are also readings from Here To Go (“Interviews with me by Terry Wilson… I understand you can buy it in the lobby”): No-one can give you the keys, even if you know what a key looks like (Korzybski, again!) Teaching is anything except what you expect it to be. “Turn the Boys Over is one way of doing it” – seduce the Teacher – Terry Wilson: “The knowledge is stolen?” “Knowledge is passed from a Master to a Disciple by the actual Act of Love” (the Sufi mystic and poet Rumi)

From The Process: the smoking circle, Youngest Brother speaks of “our enemy the sun” and Hassan i-Sabbah. “Mr Ugly Spirit himself disguised as a hydro-helium bomb.” There is no friendship, no love – the desert knows only allies and accomplices – “There are no brothers” Everyone is always ALONE, their adventure in life a singular one. A criminal, a magician, is an Outsider.

“Magic, like Art, is outside the Law”

And now the moment we have all been waiting for? Psychic Television, the propaganda arm of Thee Temple ov Psychick Youth (sic) – carrying on from the late TG’s ‘psychick youth rallies’(grey-clad acolytes, sporting shaven head and pigtail a la Tibetan Buddhist monks, very much in evidence)  – but “Psychic TV is not a group, we are not about entertainment”   – more a ritual in sound and visuals: a large video projection screen in the centre, TV monitors flank the stage, where Genesis P sits in near darkness, intoning a carefully prepared Statement to pre-recordings of soundtrack music, ritual ambience and holographic 3D sound effects, while Sleazy mixes the visuals. Tinkling bells and the moaning of Tibetan thighbone trumpets: the sound of souls in torment. A squeaking bicycle wheel. “Are you asleep, or do you want to wake up?” asks a pre-recorded, nasal voice [David Michael Bunting, recently dubbed ‘Tibet’ by GPO and part of the TOPY inner circle. Connections made at this time would eventually lead to his starting Current 93.] Then, amidst the swirl of lush strings, ‘A Message From The Temple.’ [Derek Jarman in a suit & tie mimes his part as ‘the Temple spokesman’ to the honeyed voiceover of tattooist & body-piercer extraordinaire Mr. Sebastian.] Meanwhile, the visuals: symbols of Control – “sex, power and magick” – I am amused to see that it’s clearly more than a lot of the hard-core Punks can take. The atmosphere is almost religious, for all that the images on screen are transgressive: bloodletting, genital piercing, initiation rites – something sexual, even if it isn’t clear exactly what. Glancing across to where William Burroughs sits, flanked by the Psychick Youth faithful, he seems captivated.

Speaking of the éminence grise, the Old Man of this particular Alamut: when Mr. Burroughs climbs onto the stage and takes his place behind the wooden desk, shuffling his papers and stretching awkwardly – like a doctor about to give a particularly unpleasant diagnosis – you could hear the proverbial pin drop. This is what everybody has come to see, to hear. At a brisk, business-like pace he starts with readings from the new book [the as-yet-unpublished Western The Place of Dead Roads] originally going to be called The Johnson Family after turn-of-the-century slang for ‘good’ bums, thieves, etc. A Johnson is a good man to do business with, honours his word – is not snoopy or judgemental – ‘Minds his Own Business’ – but also will not stand by when help is needed.

Burroughs introduces his alter-ego, Kim Carsons: a slimy, morbid youth, who adores ectoplasm, wallows in abominations – “when Kim was 15 his father allowed him to withdraw from the school because he was so unhappy there and so much disliked by the other boys and their parents” – He decides to go out West and become a Shootist “If anyone doesn’t like the way Kim looks and acts and smells, he can fill his grubby peasant paw” – He gets “a progressive education”  – “young man I think you’re an assassin” “I want to be one, sir!” – and recruits a band of flamboyant and picturesque outlaws, the Wild Fruits.

There are also extracts from Cities of the Red Night, Nova Express, and old favourites like ‘Twilight’s Last Gleamings’ and ‘The Do-Rights’ – the audience are attentive, rapt, respectful even, but lines like “He asks me what the American flag means to me, and I tell him soak it in heroin, doc, and I’ll suck it!” has us laughing in all the right places. Like the seasoned pro he is, William S. Burroughs has his audience right where he wants them.

Finally: The only goal worth striving for is Immortality, in Space: “This is the Space Age, and we are Here To Go.” Amen.

A final teaching for The Final Academy

 

‘The Western Lands is a real place. It exists, and we built it, with our hands and our brains. We paid for it with our blood and our lives. It’s ours, and we’re going to take it.’

William S. Burroughs, from ‘Statement on the Final Academy’

Academy 23 – an ‘unofficial’ celebration of William S. Burroughs & The Final Academy – compiled & edited by Matthew Levi Stevens & Emma Doeve of WhollyBooks. With contributions from: Joe Ambrose, John Balance of Coil, Bee, Michael Butterworth of Savoy Books, John Coulthart, Emma Doeve, Paul A. Green, Phil Hine, Spencer Kansa, Cabell McLean, John May, Jack Sargeant, Mike Stevens, and David S. Wills. Publication date will be 17th October, in commemoration of the letter from William S. Burroughs to Brion Gysin in which he first announces his plans for “a book of essays and interviews entitled Academy 23

For more details, please see: www.whollybooks.wordpress.com

Academy 23 will be launched at ‘FINAL ACADEMY/2012’ on Saturday 27th October at The Horse Hospital, Bloomsbury, London. Organised by Joe Ambrose, the event will include a screening of Words of Advice: William S. Burroughs On The Road – also Language Virus by Raymond Salvatore Harmon, with an original soundtrack by Philippe Petite – and Spoken Word performance by Paul A. Green, Scanner, Matthew Levi Stevens, and Tony White.

For complete listing, time, etc., please see: http://www.thehorsehospital.com/now/final-academy/

Further to this, Matthew Levi Stevens will be reprising his talk on The Magical Universe of William S. Burroughs at Secret Chiefs @ The Devereux Arms, in London’s West End, on Monday 5th November; then on Sunday 11th November Matthew Levi Stevens & Emma Doeve will be the special guests of Bath Omphalos Magickal Moot, where they will each give a talk on various aspects of Burroughs & the Magical Universe.

Further details of these events will be posted on WhollyBooks nearer the time.

As well as Academy 23, copies of The Magical Universe of William S. Burroughs and Apprentice to an Apprentice: The Perilous Passage of Terry Wilson will also be available at each of these events.

In addition, the chapbook A Moving Target: Encounters with William Burroughs by Matthew Levi Stevens will be available shortly from Beat Scene Press.

‘Apprentice to an Apprentice’: The Perilous Passage of Terry Wilson

“According to Brion Gysin, I was an Apprentice to an Apprentice and I have never claimed otherwise. In my work I have always done absolutely what I wanted to do at the time. I have been fortunate and privileged to encounter and become friends with some incredible people.”

– Terry Wilson, Introduction to Perilous Passage

“The standardised explanation was published. I shall oppose it with heresy…”

– Charles Fort, cited at the beginning of Perilous Passage

 

I first met Terry Wilson 30 years ago, at the time of The Final Academy in 1982. I was something of a star-struck schoolboy who couldn’t quite believe his luck that here he was meeting William S Burroughs – and of course Terry was part of the entourage, along with manager James Grauerholz, poet John Giorno, and of course the living legend that was Brion Gysin. There was also Derek Jarman’s former boyfriend Howard Brookner, who was following the action everywhere with a camera, making his documentary Burroughs: The Movie – in much the same way that Victor Bockris had been the Court recorder at The Bunker, making With William Burroughs.

And the others are arriving, phantoms in the heat… Bedaya, imposing, resplendent with his new wave black belt guitarist Attar scowling in his wake… The Little Corporal, who has laid on this show, a shaven-headed mascara’d death dwarf in his army fatigues carrying his thermos flask filled with real English Typhoo Tea fresh from Tesco’s, Hackney, E8, giving the fish eye to Holz, his fellow entrepreneur, an enormous ageing blond boy-from-the-backwoods eyes glittering behind steel rims, disconcertingly alien and impossibly straight at the same time like at any moment he might whip out a sheaf of Jehovah’s Witness pamphlets he strides quickly up to Whelme – ‘Good to see you. And I mean that most sincerely’ he intones, most sincerely – And, travelling in his wake, The Old Man, long, thin, bent, like an ancient cantankerous, infinitely ominous arrival from another galaxy.1

Terry was there in his capacity as Brion’s informal secretary, friend, collaborator, and “apprentice to an apprentice” (as Gysin himself had said), and would also be one of the performers on the bill. He was tall and thin, in a crumpled dark blue suit, pale face fading away behind a fringe of hair, and seemed nervous, shy: on the one hand in awe of Burroughs & Gysin (older gay men, established Writer and Artist, whom he had known since 1971) – and on the other wary of all the shaven-headed acolytes circling around event organisers Genesis P-Orridge and Psychic TV:

…the Final Entrepreneur. It was a great scam but it was rather too final for him. Dim as he is these days, his huge Crowleyesque peepers are still penetrating and liable to take a really good look around inside to see what there might be that he can make use of. Even dimmer, much younger flickering ephemeral figures hover around him with dead mongoloid mutant-like features and shaved heads, dispensable and fading in the last few days…2

I have already written elsewhere about the actual circumstances of meeting William for the first time, and there is also my review of The Final Academy itself (shortly to be reprinted). The only details I will add here concern Terry’s photo in the program, Statements Of A Kind, wherein an even younger Terry peers out from beneath a heavy fringe and William’s hat, a very English-looking flat cap, and is also wearing William’s clearly rain-spattered coat, standing next to a bed on the floor (Brion’s bed?) It was taken in Brion’s apartment at rue St Martin, Paris (opposite the Pompidou), by fellow neophyte Udo Breger in December 1980. He looks strangely like a young boy trying to look more ‘grown up’ than he really is – or even feels – by dressing up in his uncle’s borrowed costume. The accompanying text reads:

THIS IS the conclusion of ‘D’ Train, a very condensed novel of 23 pages using to some extent material left over from Dreams of Green Base. It is concerned essentially with out-of-the-body experience, the necessity of leaving the ‘D’ Train before it reaches its destination, and is addressed to Philippe Baumont.3

In David Darby’s interview with Terry (published as KA by Inkblot in 1986, and then later included in the reissued Perilous Passage), he says of Dreams of Green Base that…

It was a book for boys, written by a boy

…and there is a footnote that reads:

The original subtitle of Dreams of Green Base (inadvertently omitted by the publisher) was ‘The Ideal Book for Boys’. TW.

KA also includes the following exchanges:

I was in a strange, disconnected, almost catatonic state… and I was more or less simply recording dream experience, a period of which I remember very little, thankfully.

It sounds, and reads, almost schizoid.

More than almost I think.

Does it bug you now to be identified with the Burroughs circus?

No… the ‘circus’, well you have to get the show on the road… and keep it there…4

Then in 1985-6 I was visiting London more and more, gearing up for the inevitable move – still some lingering involvement with the circles around Genesis P-Orridge, Psychic TV and ‘Thee Temple ov Psychick Youth’, but mainly encouraged by my growing friendship with Geff Rushton & Peter ‘Sleazy’ Christopherson of Coil. Through them I became friends with Derek Jarman – also met the Poet Jeremy Reed – Kathy Acker, who was living in London at the time – the Filipino Performance Artist and Kinetic Sculptor David Medalla – became friends with the former Music Journalist Sandy Robertson (who would write The Aleister Crowley Scrapbook) – and eventually ran into Terry again. We became friendly, and he introduced me to a number of people that he knew, like Bob Cobbing, George Dowden, of course Felicity Mason, and Portuguese Artist João Penalva. It seemed obvious that when I did move to London we would see more of each other.

Right from the start it is made clear that Terry feels that his friendship with William and Brion – and, most particularly, his time spent with Brion in Paris, working on what would become Here To Go: Planet R101 – was a kind of apprenticeship, even an initiation…

But initiation into what, exactly?

Following Gysin’s death, Wilson felt isolated and cut off, and Perilous Passage was a way out of loss and despair, a magical writing making contact possible with other initiates, other minds. Third Mind techniques, including cutting-up, systematic disorientation, out of the body experiences, and the use of drugs in the transformation of the self, are all evoked…5

From the end of 1987 through to 1989 we were in pretty much weekly contact: a phone-call at the start of the week, then either a rendezvous in the West End or towards the end of the week another phone-call, co-ordinating trips to various Launches & Openings, or else just hang out – usually with a visit to his ‘local’, a gay pub, The Champion in Notting Hill.

Lancaster Gate – Notting Hill – Portobello just round the corner – could be Powis Square, the ghost of Turner passing in a phantom Rolls. The white façade of the building dazzles in the sunlight and then the front door opens at my touch as if I am expected, but Who Is There? An old Conjuror’s trick: I am in for a very different ‘performance’ here, and there will be no calling Dr Burroughs for a shot –

Then I am IN, and everything turns negative: the floor trips me and pitches me forward like a ship on storm-tossed seas, into-down-along high-ceilinged narrow hallways (“the walls are closing in”) and upstairs, don’t stop until you get to the top – a black tunnel hung with luminous calligraphies that flicker with their own light.

At the top the Sorcerer’s Apprentice appears, a shadow detached from the wall by the open door. His face swims towards me, wreathed with heavy-scented blue smoke, and the limp handshake reminds me of trying to bring like poles of two magnets together. Beyond the threshold I hear Moroccan music, as shadows dance like firelight, tinged red-orange-yellow. The flickering room, breathing, heaving…

“Uh, hi – glad you could make it. Enter freely and of your own will, and all that!”

I walk through the door into another world…6

I soon discovered that Terry was very much a creature of habit, with a weekly routine of a trip in to the West End, when he would ‘do the rounds’ of the bookshops (Books Etc. and Foyles were particular favourites.) Then down Old Compton Street to Patiserie Valerie, which had apparently been Brion’s favourite: “a little slice of Paris in the West End of London.” He very rarely ate actual meals, but would enjoy tea and the excellent cakes, and endless rounds of toast. He would point out to me the Soho newsagent where William & Brion had bought the Herald Tribune, the bars that they had used…

Always trying to REMEMBER.

…I have had to attempt – been compelled by his example to attempt – to tell a truth that, like Brion, transcends so-called fact. “A deceit in service of the truth” in the words of the Amazonian shaman Don Juan Tuesta (as quoted by Cesar Calvo, The Three Halves of Ino Moxo). “Fact” is right where you are sitting now…

I have worked principally from what are called dreams of an experience, rather than from the seeming occurrence, itself, as it were. Such is the Process. I’m not presenting what “really happened,” “factually,” because I don’t know. In fact, I don’t know if anything “really” happened at all. Do you? 7

Then back home on the tube via Notting Hill Gate, to try and write in the late afternoon in his high-ceilinged first floor apartment – which was surprisingly bare, except for a reed mat in one corner, a sturdy bureau-cum-writing desk beneath the window, a number of Gysin calligraphies and water-colours lining the walls, and on the mantelpiece a dry leaf-husk by way of a whisk for flies (in the Moroccan style.) There was a surprisingly large kitchen – equally bare and hardly used, other than to occasionally make tea, or fetch an ashtray or corkscrew and glasses – a small windowless bathroom – and a tiny monk’s cell of a bedroom: just a bed and a wardrobe, with very little in the way of clothes. Very little in the way of possessions at all, actually – other than books by William and Brion, copies of his own (of course), and an incredible archive of letters, manuscripts, and photographs…

A treasure-house of memories.

Perilous Passage focuses for the most part on events as they developed just prior to and after Brion Gysin’s death.

Ian MacFadyen has vividly described and commented on the general situation as presented herein in one of his insightful, rarely published essays…

“Phony magicians and phantom intelligence agents move in on rue St Martin, on the track of psychic power, while ‘predatory hustlers’ and ‘bloodsuckers’ emerge from under the floorboards, eager to grab a good-sized chunk of a dying artist’s estate… [The apprentice’s] initiation demands both risky out-of-the-body experiences and hazardous dealings with ‘CREEPS’, the con artists of a malign conspiracy…” 8

Our friendship develops slowly, gently, over the sharing of those memories – what little store I have to offer myself – as Terry smokes joint after joint (“Smoked transcendence is accessible to all!”), always a most generous host even with what little he has – and on some level it almost begins to feel like an education, of sorts – the next link in the chain of The Third Mind, “an experiment which failed, but which is still going on” as Brion said. Anecdotes about The Old Man/William and Bedaya/Brion – “It all reads like sci-fi from here. Not very good sci-fi, but real enough at the time” 9– and sometimes what could almost be Cautionary Tales masquerading as gossip: Antony Balch in a business suit by day, out cruising in ‘Leather Man’ drag by night… and how the last time he visited poor ‘Lost Boy’ Mikey Portman, he was whipping himself with a studded leather belt, shouting “Victory to Aleister Crowley!”, all beneath the poker-faced gaze of his decorators…

I get the distinct impression that Terry is wary, to say the least, of those who actively identify as Occultists, the seeming ubiquity of post-Crowleyan Theory & Practice. At one point he cautions me about “the company of predatory ‘magical’ thinkers”“What, ‘magick’ with a ‘k’?” I ask – “Yeh…” he sighs. This is perhaps inherited from Brion, who I think was pretty dismissive of Aleister Crowley as a “queen bee”, and the “drones” who are such eager followers (he was not impressed with Kenneth Anger’s ‘box of tricks’, when he met him in the 60s) Besides, he preferred an older, wilder ‘magic’, whose passing he still mourned:

It was almost closing time for Magical Morocco. Electronic mind control was moving in and the Djnoun forces would soon be in full retreat gems to be snapped up before they disappear forever. Spells and curses. Dance and trance. The Other Method was up for grabs.10

He likes to talk about Charles Fort – says that Burroughs was more aware of (and influenced by) him than he would admit. Reads Buchan, The Power House, draws some strange comfort from the famous lines “You think that a wall as solid as the earth separates civilisation from barbarism. I tell you the division is a thread, a sheet of glass.” For my part, I try to be helpful, copying tapes of Brion that I have from the archives of PTV and Coil – typing up articles – bringing books that we talk about, that he is interested in: the recent works by Castaneda (clearly a major influence) – books on Hassan-i Sabbāh and his Assassins – from the British Museum a copy of ‘The Dispute Between A Man And His Ba’ that William has recommended – also the wonderfully titled The Origin of Consciousness in the Breakdown of the Bicameral Mind by Julian Jaynes – all of which feed into our discussions, and our writings. Usually I bring along a bottle of wine. He particularly likes French reds…

Why was someone like Bedaya surrounded by such awful people?

I don’t know anybody who isn’t surrounded by awful people…

Fear of being alone…11

He has almost finished the follow-up to ‘D’ Train, a novel about his apprenticeship to ‘Massa Bedaya’ that William has suggested he call “Perilous Passage” (after a WWII thriller about the French Resistance, that was made into a rather trashy film with Anthony Quinn, James Mason, and Malcolm MacDowell.) Terry also rather likes the idea of “The Nervous System”. He later has this to say about his three books, which he loosely conceives of as a trilogy:

In these accounts I am not so much trying to detail a teaching method,  a virtual impossibility in the case of the allusive and elusive “Massa Bedaya” (Brion resolutely refused to “teach”, without ever ceasing to do so), but rather to describe the effects of what he called the Process on those concerned, most particularly myself. 12

Later I interview Terry – he wants to get his story down, and I will try and get it out. Down… and out. Hmm… Badly cut versions do later appear, in small fanzines mostly relating to the emerging ‘Chaos Magic’ scene. The irony is not lost on us.

My books are an account of my apprenticeship under the tutelage of a master practitioner: Brion Gysin. – I was, as I have written, an eager – wanting – volunteer on the shining path. Brion, legendary “avant garde” maestro, peerless painter/writer-inventor/mentor was an accomplished shaman.13

At one point he is invited to contribute to a compilation tape that will accompany yet another small magazine, and asks if I will help him make a Spoken Word recording. He reads (You Hear Me Now?) from the manuscript of what will become Perilous Passage, and I add sound effects of telephone crackle and interference, shortwave and static. He seems very pleased with the results, but I don’t know if it ever actually got used; certainly neither of us received a copy…

I have to take control of this goddamn situation Bedaya has left behind. No one else can do the job… My “allies” for the most part are devious, unreliable, or plain bone stupid. Sometimes all three. Bedaya’s legacy.14

(You Hear Me Now?) is a study in paranoia, intrigue, confusion – of purpose, place, persona – as an unnamed narrator, presumably ‘Toller Whelme’ from ‘D’ Train (who is ‘really’ Terry Wilson) gets an ominous phone call at 4 a.m. “A hoarse, whispering voice” – one ‘J’ (who is presumably ‘really’ James Kennedy McCann) – rings to say “I’ve seen Bedaya, I’ve talked to him…” (‘Bedaya’, who is ‘really’ Brion Gysin – even though he has presumably been dead for a while at this point.) Spy thriller exchanges about attempts on his life are mixed – no, Cut-Up – with the question “How do we escape from Time?” – the answer being “…Hassan I Sabbah’s programme…” The narrator comments: “Well… I think it’s still in operation… You know we intend to continue by means of the Third Mind…” Then ‘J’ asks about “the other J” (presumably ‘really’ James Grauerholz) – “You know he controls the Old Man…?” (‘really’ William S Burroughs) – and it is suggested that he works for the C.I.A. – and we are back where we started, in a midnight mystery pulp espionage escapade…

The plot couldn’t get any thicker if it tried.

I’d like to emphasis this point about the Third Mind – Bedaya wasn’t fooling around, talking about this marvellous thing forever. It was necessary to produce some actual physical product. Immediately we made contact he got right onto the job. In other words, words were necessary, but he controlled and channelled them.15

Inspired by a certain recurring detail in ‘D’ Train – and partly in response to the emerging ‘Acid House’ scene – I record Terry reading the line “The Body 24 Hours Is Frivolously Dancing” and cut-it-up over a House beat, complete with tape-loops of Jajouka and a TB303 bassline.

The New Year starts warmly, a copy of ‘D’ Train dedicated “For Matthew with all best wishes for 89 and forever”, but over the next couple of years things start to become strained. Former ‘psychick youths’ that I have introduced to Terry and personally vouched for let us down – let him down – take advantage of him, he feels (and don’t even get the quotes or spellings right, or give credit where credit is due!) His health deteriorates – people begin to avoid him, suspecting HIV or junk, although of course it is neither…

“Maybe to’ve opened ourselves up to all those dreadful spaces with all those drugs wasn’t such a good idea…” 16

I have begun a sort of ‘Third Mind’ collaboration of my own with a young friend – William sees early drafts, and generously comments that it is “Accurate and honest… Young boys need it special. They may even listen.” Unfortunately exactly the same words he had written to Terry with regard to ‘D’ Train. There is perhaps for the first time a sense of competition.

Walking by the side of a large body of water, the sun beating down on me, dazzling me. Not really sure where I am, things seem… through a heat-haze, the figure of a man coming towards me: tall and thin, just sort of drifting along as if his feet aren’t quite touching the ground. As he draws nearer I recognise the crumpled dark blue suit, pale face fading away behind a fringe of hair – it is Toller. His usually nervous, haunted looking face bears a more relaxed expression and he smiles, reaching out to shake hands  (as ever, I am reminded of trying to bring like poles of two magnets together)

“Hello! Well fancy meeting you here!”

“You’re looking well… Where exactly is ‘here’?”

I study Toller’s face for clues. He looks a little flushed, like he’s been drinking, or maybe it’s just the heat.

The heat… I start losing track of what Toller is saying, his words drifting off as my head swims… suddenly I feel faint, like it’s all too hot and hazy and I can’t… faint voices in the distance, “watch me as I unwind in droplets and flashes of tomorrow” – like going under anaesthetic, or… confused memories of hospitals, dying – dreams and conversations I haven’t had yet. The last thing I hear him say is:

“How’s your young man coming along?”

(It is to be remembered that the Ka usually reaches adolescence at the time of bodily death, and is the same sex as the subject)

This morning a note arrives from Toller: he’s just got back after being in Paris and then going down to Milan with Vogue, where they stayed at the Lake Como resort. He says he has something for me, something that we will need to continue…

I decide to ring and tell him about my dream, and about what I have been seeing in the mirror.

“We have six thousand million years to travel but where will it take us?” he says, not really expecting an answer. “So the Old Man and I drew in the nets…” He talks in his sleep (someone has taught him how.)

“Last night I dreamt that there was this voice trying to write a book in my head. All I had to do was write down what it said, like taking dictation, but it was going too fast…”

Unlike me he seems to have little trouble remembering his dreams (someone has taught him how.) 17

He is diagnosed with M.E., but not everybody even accepts yet that it is a ‘real illness’. The press joke about this new ‘Yuppie Flu’, which doesn’t help. There are endless delays concerning Brion’s Will, his Estate – French red-tape – and in the meantime energy levels are at an all-time low, friends are scarce, money is tight…

There was a conspiracy to wipe out Bedaya and myself… Of course they intend to do everything they can to stop me getting any of that money. But the whole thing is part of a bigger scene – a big power battle, to neutralise and assimilate a lifetime of psychic power into three-dimensional financial manipulative areas.18

I have troubles of my own: relationships unravelling, projects that don’t materialise – for me too money is tight, and my health also begins to suffer… Terry leaves town to avoid the Notting Hill Carnival, begins to spend time with his parents in Southampton. His father cannot understand how as a writer with three books in print he has no money. Terry can hardly get out of bed, browses Buchan and Charles Fort, lets daytime TV wash over and through him… all the old movies. The grandfather who I grew up with has a stroke, I have to drop everything and try and help out. We lose touch…

Terry later said of this time:

“…I found myself in West End, in Southampton, and I just became extremely receptive, as if everything I read or heard or saw on T.V. was streaming right through me…” 19

In 1992 I hear about The ‘Here To Go’ Show in Dublin, and although I am with them in spirit, I am not in a position to go anywhere. For me, the ‘Perilous Passage’ is over – and, for Terry, despite the apparent promise of those years – the ‘Irish Connection’ – new adventures across Europe, reunited with Phillippe, trips to North Africa – and the whole ‘crazy wisdom’ that would inspire The Nervous System – the underworld patron and sponsor he had inherited from Brion, James Kennedy McCann, is finally arrested on Conspiracy & Drug-Trafficking charges in Dusseldorf while they are travelling together, leaving Terry quite literally high and dry…

He assured me that everything would be okay… “As long as you have the strength to survive this initiation…” 20

His next book would not come out until 2004.

So, eventually, the book with the 16 year gestation and 3 separate titles – Perilous Passage, The Nervous System and The Universe In Other Words – finally sees the light of day thanks to psychedelic environmentalists Synergetic Press of Santa Fe, New Mexico, but the first limited edition barely registers – nowhere stocks it, you can’t get it online, and there aren’t even any reviews. Is it too late for The Other Method? Has The Third Mind become occluded from the Time Space continuum? Having lost my old address books, I have no way of getting in touch with Terry again, and no longer know anybody that would know him, how he is, or how to get in touch with him…

“Wilson has described Cut Up as a form of ‘exorcism’. A narrative illusion is broken and the end result is intended as an act of magic…” – David Darby

And:

Do you think of writing as an act of magic?

Well, I think it is.21

One has to wonder what it is exactly that Terry was seeking so desperately to exorcise… At times he seemed to be a haunted man, but a man haunted by that which he himself has conjured up – continually attempts to conjure up – until he is like some strange hybrid of slightly displaced Son-and-Heir & Post-Modern Mariner who cannot help but tell his tale – except it isn’t really ‘his’ tale, or at least not his alone: like the Professional Widow, the tale which Toller tells is more about someone else than it is himself – even in his absence, Massa Bedaya-Brahim-Brion Gysin is still the main subject of Terry’s writing. And in one very real sense his most recent book is – like Virginia Woolf’s Orlando – one long love letter, except that it is addressed to a ghost. After surviving his Perilous Passage, experiencing The Nervous System, and even discovering The Universe In Other Words, Terry Wilson as ‘Toller Whelme’ concludes:

“I simply did not remember Brion in the usual sense. To do so – to really remember him – requires an enormous effort of recapitulation because what he taught is not accessible to ordinary consciousness. The only way to reach him is to follow him there. What on earth really happened to me? What techniques? Where is everybody? Who can say? Not me.” 22

Tellingly, the ‘Introduction Dreams of BG’ opens with the following, a clue perhaps:

“It is important to know that the world is held together by unresolved contradictions.” – Brion Gysin

And finally, Coming To Now, In Present Time:

There is a second edition, hopefully more readily available. There was a Launch at The October Gallery, there are Reviews online, and Ian MacFadyen (who writes an Introduction to this new edition, again from the good people at Synergetic Press) has worked pretty tirelessly to help get the ‘circus’ back on the road – including a lengthy, in-depth conversation with Terry, ‘Cutting Up For Real’, which is sure to become the definitive statement. It actually explains more about Gysin, his ‘Other Method’, and Terry’s adventures than any of his books manage to do, and should be read alongside them, perhaps as a kind of key. It opens with a reference to the end of my 1988 interview with Terry ‘Soul-to-Soul’, concerning Irish Coffee and “the beginning of a new age” – but for some reason un-credited – so for me at least something has come full circle here.

It seems fitting to close with the words of the Master himself, which is of course in a way where it all begins. In Brion Gysin’s novel The Process, during a pilgrimage across the Sahara in search of Initiation, his narrator comes to the following realisation:

I alone of all these Assassins had ever been foolish enough to conceive of happiness… There is no friendship: there is no love. The desert knows only allies and accomplices. The heart, here, is all in the very moment. Everything is bump and flow; meet and good-by. Only the Brotherhood of Assassins ensures ritual continuity, if that is what you want and some do; for the lesson our zikr teaches is this: There are no Brothers.23

 

 

Notes:

1: from ‘Who Are They? (Time after Time)’, p.78 of ‘D’ Train, Grapheme, 1985

2: from ‘Crossing the Border’, p.40 of ‘D’ Train, Grapheme, 1985

3: from p.51 of The Final Academy: Statements Of A Kind, 1982

4: David Darby – KA: An interview with Terry Wilson, Inkblot, 1986

5: Ian MacFadyen – note to the reissue of Perilous Passage, Synergetic, 2012

6: Matthew Levi Stevens – Operation Rewrite, Synapse, 1989

7+8: from ‘Introduction Dreams of BG’, Perilous Passage, Synergetic, 2012

9: William S Burroughs, The Western Lands, Viking Penguin Inc., 1987

10: from ‘The Man From Nowhere’, p.49 of Perilous Passage, Synergetic, 2012

11: from ‘We Are Very Close’, pp.46-7 of Perilous Passage, Synergetic, 2012

12+13: from ‘Introduction Dreams of BG’, Perilous Passage, Synergetic, 2012

14: from ‘Fire’, p.39 of Perilous Passage, Synergetic, 2012

15: from ‘I Am Here… (?)’, p.63 of Perilous Passage, Synergetic, 2012

16: Brion Gysin to William S Burroughs, towards the end, rue St Martin, Paris

17: Matthew Levi Stevens & David Lengui – The Speed of Light, Synapse, 1988

18: from ‘I Am Here… (?)’, p.60 of Perilous Passage, Synergetic, 2012

19: Ian MacFadyen – Terry Wilson: Cutting Up For Real, Reality Studio, 2012

20: from ‘St Lazare’, p.15 of Perilous Passage, Synergetic, 2012

21: Matthew Levi Stevens – Soul-to-Soul: talking to Terry Wilson, interview 1988

22: from‘The Nervous System’, 10% File Under Burroughs, Sub Rosa, 1996

23: Brion Gysin – The Process, Jonathan Cape Ltd, 1969