By Brion Gysin, Jason Weiss
Brion Gysin (1916–1986) used to be a visible artist, historian, novelist, and an experimental poet credited with the invention of the ‘cut-up’ process — a college of texts, now not photos — which his longtime collaborator William S. Burroughs placed to extra wide use. he's additionally certainly one of the early innovators of sound poetry, which he defines as ‘getting poetry backtrack the web page and into performance.’ again very quickly gathers fabrics from the total Gysin oeuvre: scholarly historic examine, baroque fiction, permutated and cut-up poetry, unsettling memoir, choices from the method and The final Museum, and his unproduced screenplay of Burroughs’ novel bare Lunch. furthermore, the Reader comprises entire texts of numerous Gysin items which are tricky to discover, together with “Poem of Poems,” “The Pipes of Pan,” and “A fast journey to Alamut.”
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Extra info for Back in No Time: The Brion Gysin Reader
Let us skip sex. Have you ever been psychoanalyzed? Have I been what? Subjected to psychoanalytical examination. Why, good God? In order to see how it is done. Some critics have felt that your barbed comments about the fashionability of Freudianism, as practiced by American analysts, suggest a contempt based upon familiarity. Bookish familiarity only. The ordeal itself is much too silly and disgusting to be contemplated even as a joke. Freudism and all it has tainted with its grotesque implications and methods appears to me to be one of the vilest  deceits practiced by people on themselves and on others.
The index alone runs to 5,000 cards in three long shoe boxes; you see them over there on that shelf. My translation is, of course, a literal one, a crib, a pony. And to the fidelity of transposal I have sacrificed everything: elegance, euphony, clarity, good taste, modern usage, and even grammar. In view of these admitted flaws, are you looking forward to reading the reviews of the book? I really don't read reviews about myself with any special eagerness or attention unless they are masterpieces of wit and acumen-which does happen now and then.
The middlebrow or the upper Philistine cannot get rid of the furtive feeling that a book, to be great, must deal in great ideas. Oh, I know the type, the dreary type! He likes a good yarn spiced with social comment; he likes to recognize his own thoughts and throes in those of the author; he wants at least one of the characters to be the author's stooge. If American, he has a dash of Marxist blood, and if British, he is acutely and ridiculously classconscious; he finds it so much easier to write about ideas than about words; he does not realize that perhaps the reason he does not find general ideas in a particular writer is that the particular ideas of that writer have not yet become general.