The Adding Machine Read Online Free
Author: William S. Burroughs
Sommerville arrived during the summer and took over the technical aspect of the montages. Also present were: Tim Leary, Allen Ginsberg, Alan Ansen, Paul Bowles, Michael Portman and Gregory Corso... the psychedelic summer.
In the fall of 1961 I spent a month in New York, where I started Nova Express. When I returned to England, my work with photo-montages and tape-recorders continued and in early 1962 I moved to an apartment sublet from Marion Boyars at 52 Lancaster Terrace in London, which I shared with Michael Portman. In a basement apartment I shared with Ian Sommerville I prepared a show with his assistance. I also wrote some poems for David Bud’s exhibition of sculpture in Paris.
In the summer of 1962, Ian and I went to Tangier where after some house-hunting we unwisely rented an Arab house at 4 calle Larachi. My son Billy arrived during the summer. Esquire took some photos of the house and of Billy and myself which were later used as an article.
We did not start to have real neighbor trouble until after the Kennedy assassination, but the trouble became acute after New Year’s of 1964. I had just returned from a television appearance in London with Alex Trocchi in which we were interviewed by Dan Farsons. Arriving in England for this show, I was stopped and searched by Customs. I think the word had been passed along by some snotty Vice-Consul in the American Consulate in Tangier. When I got back, we were under continual harrassment from the neighbors and I had no money to move. I started keeping a diary and decorating files with photos; later I started keeping scrapbooks.
Early in May my first substantial payment came through from Grove Press and I moved into 16 rue Delacroix, the Loteria Building. The work with scrapbooks continued and Antony Balch arrived during the summer to shoot some of the scenes from Cut-Ups. In December, I returned to America by boat and arriving at Customs got the ‘right-this-way’ treatment. Two narcs and three Customs agents spent three solid hours pawing through my books and papers and photos, reading them and commenting.
I stayed in New York from 1964 until September 1965, at the Hotel Chelsea and in a loft at 210 Centre Street There Brion and I assembled The Third Mind. Antony Balch came over from London to shoot more scenes for Cut- Ups and I did a lot of scrapbook work. Brion frequently remonstrated with me to leave these experiments and write some straight narrative.
Returning to England in September 1965, Brion and I were searched at the airport. After going through Customs and Immigration, an official walked out after us .. . and once again agents pawed through my papers. ‘What do you cart these about for?’ one said, holding up some Magic Markers/flash forward to being caught by a black subway guard, writing AH POOK IS HERE on the subway wall... ’ You a grown man, writing on the wall!’ New York City, April 30, 1972 .. .
We were limited to a stay in England of one month. Obviously, the American Narcotics Department had passed the word along. Lord Goodman, Michael Portman’s solicitor and Chairman of the Arts Council, straightened out this passport difficulty. I settled in at the Hotel Rushmore at 11 Trebovir Road, Earl’s Court. A number of tape-recorder experiments, described in The Invisible Generation, were carried out here with Ian Sommerville, who had a sound studio placed at his disposal by Paul McCartney.
By 1967, when I had moved into 8 Duke Street, Saint James’s, I had such an overrun on tape-recorders, cameras and scrapbooks that I couldn’t look at them, and started writing straight narrative and essays which later found their way into The Wild Boys and The Job. I made several trips to Tangier, to rework The Ticket that Exploded, and returned to Morocco and Marrakesh, where I started a first draft of The Wild Boys. In 1968, January through April, I was at Saint Hill in England, studying Scientology. In 1968, I covered the Democratic Convention in
In the fall of 1961 I spent a month in New York, where I started Nova Express. When I returned to England, my work with photo-montages and tape-recorders continued and in early 1962 I moved to an apartment sublet from Marion Boyars at 52 Lancaster Terrace in London, which I shared with Michael Portman. In a basement apartment I shared with Ian Sommerville I prepared a show with his assistance. I also wrote some poems for David Bud’s exhibition of sculpture in Paris.
In the summer of 1962, Ian and I went to Tangier where after some house-hunting we unwisely rented an Arab house at 4 calle Larachi. My son Billy arrived during the summer. Esquire took some photos of the house and of Billy and myself which were later used as an article.
We did not start to have real neighbor trouble until after the Kennedy assassination, but the trouble became acute after New Year’s of 1964. I had just returned from a television appearance in London with Alex Trocchi in which we were interviewed by Dan Farsons. Arriving in England for this show, I was stopped and searched by Customs. I think the word had been passed along by some snotty Vice-Consul in the American Consulate in Tangier. When I got back, we were under continual harrassment from the neighbors and I had no money to move. I started keeping a diary and decorating files with photos; later I started keeping scrapbooks.
Early in May my first substantial payment came through from Grove Press and I moved into 16 rue Delacroix, the Loteria Building. The work with scrapbooks continued and Antony Balch arrived during the summer to shoot some of the scenes from Cut-Ups. In December, I returned to America by boat and arriving at Customs got the ‘right-this-way’ treatment. Two narcs and three Customs agents spent three solid hours pawing through my books and papers and photos, reading them and commenting.
I stayed in New York from 1964 until September 1965, at the Hotel Chelsea and in a loft at 210 Centre Street There Brion and I assembled The Third Mind. Antony Balch came over from London to shoot more scenes for Cut- Ups and I did a lot of scrapbook work. Brion frequently remonstrated with me to leave these experiments and write some straight narrative.
Returning to England in September 1965, Brion and I were searched at the airport. After going through Customs and Immigration, an official walked out after us .. . and once again agents pawed through my papers. ‘What do you cart these about for?’ one said, holding up some Magic Markers/flash forward to being caught by a black subway guard, writing AH POOK IS HERE on the subway wall... ’ You a grown man, writing on the wall!’ New York City, April 30, 1972 .. .
We were limited to a stay in England of one month. Obviously, the American Narcotics Department had passed the word along. Lord Goodman, Michael Portman’s solicitor and Chairman of the Arts Council, straightened out this passport difficulty. I settled in at the Hotel Rushmore at 11 Trebovir Road, Earl’s Court. A number of tape-recorder experiments, described in The Invisible Generation, were carried out here with Ian Sommerville, who had a sound studio placed at his disposal by Paul McCartney.
By 1967, when I had moved into 8 Duke Street, Saint James’s, I had such an overrun on tape-recorders, cameras and scrapbooks that I couldn’t look at them, and started writing straight narrative and essays which later found their way into The Wild Boys and The Job. I made several trips to Tangier, to rework The Ticket that Exploded, and returned to Morocco and Marrakesh, where I started a first draft of The Wild Boys. In 1968, January through April, I was at Saint Hill in England, studying Scientology. In 1968, I covered the Democratic Convention in
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