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New blog tag line.

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Burroughs — “He goosed a rectum.”

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There is sex on nearly every page of Naked Lunch. However, the “a.j’s annual party” section has a concentrated focus on orgiastic prose that goes on for some fourteen pages. In someways, distantly reminiscent of Joyce’s more debauched moments, there are likely few other touchstones previous to this scene that match the phraseological intensity and indulgence in pornography. Pynchon, Acker, Delany all owe something to this scene. A side note, the prominence of blue in the beginning of this section likely points to a symptom of heroin withdrawal. Burroughs writes about two prominent symptoms of heroin withdrawal: everything looks blue, paranoia. Posting 10 of 14 pages.

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Naked Lunch orgy at the MetropolitanOpera House. One of my go to fantasies. Aquarian imagination at its best. “Xiucutl” is ”such a powerful aphrodisiac...”

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Sex starts around 2:23:00. https://media.sas.upenn.edu/pennsound/authors/Duncan/Whitman-Lectures-1981/Duncan-Robert_Complete-Recording_Lecture-On-Whitman_New-College_6-11-81.mp3

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A sloppy post of sex from Queer by William S Burroughs. Written 1951-53. Published in 1985.

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A sloppy post of more sex from Queer by William S Burroughs. Written 1951-53. Published in 1985.

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Jury duty today and cramming William S Burroughs for an essay. This is the first sex scene in Queer and the first time there is any physical contact between protagonist Will Lee and Eugene Allerton. There’s an underlying story here about Joan Vollmer, Burroughs’ wife who was killed in the infamous William Tell shooting incident by her husband. Allerton is based on Burroughs and Vollmer’s friend, Lewis Marker. According to a paper by Burroughs’ long time assistant, James Grauerholz, linked below, Marker and Burroughs had just returned from a tryst in Central America when Vollmer’s death occurred. Marker was in the room when at the time of the shooting. Which lends itself as evidence that, whether conscious of the fact or not, Burroughs may have wanted Joan out of his life when the shot went off. http://traumawien.at/stuff/theory/burroughs/deathofjoan-full.pdf

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hey I see you've read diary of an oxygen thief. do you know where I could buy a paperback copy?

Amazon, likely. There’s a guy who sells them on Prince St. in SoHo, in Manhattan. If you can’t find one, I would be willing to mail you mine. 

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It’s a good time to revisit Bret Easton Ellis’ American Psycho. 

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I’m doing the underlining of sex in books but posting photos is a slog. I want to because all of the terrifying sex in 2 James Joyce, Flaubert’s Temptation of Saint Anthony, and Anti-Oedipus. We shall see. Penis. 

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Well. This is a big smutty queer book.

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"The Lovers," Duras

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***Call for Submissions***

I LOVE I LOVE DICK: AN I LOVE DICK FAN ZINE

Where were you the first time you read I Love Dick? Whose life did you prepare to ruin?

When you read I Love Dick, you are either knocked out by it, or you are not. We are writing to the knocked-out ones. “Study as a Fan Club meeting–the only kind,” Kraus writes. 

This is a call for essays, blog posts, poetry, letters, diary entries, screenshots, marginalia, excerpts, text messages, status updates, visual art, photography, collages, interviews, horoscopes, performance fragments, and general ephemera that explore questions, methods, characters, and ideas raised in I Love Dick. 

With the book’s impending adaptation for Amazon TV, we want to gather pieces that revel in the destructive weight of the feminist confessional form, that “handle vulnerability like philosophy, at some remove” (208), that describe “what happens between women,” (208) that do “performative philosophy,” (211) that “expose the conditions of our own debasement” (211), and that foreground “women talking, being paradoxical, inexplicable, flip, self-destructive, but above all else public” (210)–for Kraus, “the most revolutionary thing in the world.”

Here’s how I remember it. The text rains down like an event, whether you read it with the breathless, sex-addled speed of its purportedly real-life plot twists or the patience of an exegete, following each aesthetic thread Kraus weaves into her narrative, trying to pull them all together. The book lends itself to exaggeration, maybe because it covers so much ground, because it does so much. Eileen Myles, introducing the text, doesn’t hesitate to let Kraus stand in for Christ, even though Kraus’s take on Christ is that you “love him because he’s beautiful” (113) and she writes from a subject-position that does battle with beauty. Beautiful or not, it’s easy to see Kraus as a saviour of some kind, partially because in this book she gives her textual body so that we, the lonely girls, phenomenologists of feminized vulnerability, might witness the process of self-exploration as a means for theorizing the interiors of the social. Unlike Christ, she doesn’t promise to save us: she only promises to show us.

Email submissions to iloveilovedick@gmail.com by April 19 2016!

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"The Lovers," Marguerite Duras