William S. Burroughs

Thursday

July 7, 2022

Who was the most right-wing member of the Beat Generation?

Who was the most right-wing member of the Beat Generation? The gentle Catholic-Buddhist Jack Kerouac, spontaneous-bop prosody prince of the Old Right, has the strongest claim. In 1952, shortly after finishing the novel that would be published five years later as On the Road, he argued for Robert Taft, “Mr. Republican,” for president, while his pal Allen Ginsberg was puffing up Cold Warrior and son of a robber baron Averell Harriman. (As usual in American politics, left was right and up was down, and those who see only blue and red were utterly befuddled.) But William S. Burroughs, gun fancier and cadaverous grandson of the adding-machine inventor, gave Saint Jack a run for it.

Saturday

August 1, 2020

Ben Sixsmith

When child abuse was avant-garde

Last month the New Yorker published an essay about a grotesque experiment that took place in West Germany in the 1970s, in which young boys who had been taken from, or abandoned by, their parents were placed with known pedophiles. It was no accident. It was quite deliberate. The powerful sexologist Helmet Kentler believed that pedophilic guardianship would foster an open and unashamed attitude towards sex that would preclude the development of fascistic attitudes. As the New Yorker says: ’Kentler’s goal was to develop a child-rearing philosophy for a new kind of German man. Sexual liberation, he wrote, was the best way to “prevent another Auschwitz.”’ A sensible reader could guess what happened to the boys.

Michael Millner

Last of the red-hot lovers

John Giorno’s breakthrough work, he explains in his richly salacious telltale memoir of the Sixties New York art scene, was ‘Pornographic Poem’. In 1964, Giorno took phrases from mimeographed erotica and reconstituted them as homosexual lyric poetry: ‘I shivered/ looking up / at these erect pricks/ all different/ lengths/ and widths/ and knowing/ that each one/ was going up/ my ass hole.’ ‘Pornographic Poem’ is a ‘readymade’ or ‘cut-up’ that follows Andy Warhol, Robert Rauschenberg, Jasper Johns and William S. Burroughs — all of them artistic appropriators, and all of them Giorno’s lovers. These revolutionary artists are Giorno’s ‘great demon kings’.