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Addictation Machines ADDICTATION MACHINES ADDICTATION MACHINES AUTHOR • JAMES GODLEY ARTIST • VALENTIN HENNIG L’entrée dans la crypte à laquelle participent William Burroughs et sa mère s’ouvre et se ferme autour d’une Entry into the crypt William Burroughs shared with his représentation échouée de la légende de Guillaume Tell mother opened and shut around a failed re-enactment essayant d’atteindre une pomme placée sur la tête d’un of William Tell’s shot through the prop placed upon a être aimé. Le meurtre accidentel de sa femme achève loved one’s head. The accidental killing of his wife Joan l’installation de la machine d’addictation qui file la completed the installation of the addictation machine mélancolie comme une diffusion frénétique. Un encod- that spun melancholia as manic dissemination. An early age précoce auquel s’ajoute une part audio de l’abus encryptment to which was added the audio portion of induit un message impossible à livrer en WB. William abuse deposited an undeliverable message in WB. Wil- ne peut jamais le dire (tell), bien que son corps porte liam could never tell, although his corpus bears the in- l’inscription de cette impossibilité comme une autre scription of this impossibility as another form of pos- sorte de possibilité. sibility. James Godley est actuellement doctorant en anglais James Godley is currently a doctoral candidate in Eng- à l’Université de Buffalo où il étudie la psychanal- lish at SUNY Buffalo, where he studies psychoanalysis, yse, la philosophie continentale et la littérature du Continental philosophy, and nineteenth-century litera- dix-neuvième siècle des États-Unis, ainsi que celle de ture and poetry (British and American). His work on the l’Angleterre. Son travail sur les concepts de deuil et des concept of mourning and “the dead” in Freudian and « décédés » de la psychanalyse freudienne et lacanienne Lacanian approaches to psychoanalytic thought and in dans la littérature gothique sert d’inspiration pour un Gothic literature has also spawned an essay on zombie article au sujet de la zombie porn. porn. Valentin Hennig s’inscrit à l’Académie des beaux-arts Since entering the Academy of Fine Arts Karlsruhe in de Karlsruhe en 2007. Il étudie sous la direction de 2007, Valentin Hennig has studied in the classes of Sil- Silvia Bächli, de Claudio Moser, ainsi que de Corinne via Bächli, Claudio Moser, and Corinne Wasmuht. In Wasmuht. En 2010, il étudie à École d’enseignement 2010 he spent a semester at the Dresden Academy of supérieur des beaux-arts à Dresde. Ses œuvres appara- Fine Arts. His work has been shown in group exhibi- issent dans des expositions collectives à Freiburg et à tions in Freiburg and Karlsruhe. Karlsruhe. • ISSUE 2-1, 2011 • 32 GODLEY & HENNIG 33 • ISSUE 2-1, 2011 • ADDICTATION MACHINES I. earlier trauma: “[A]ll his life Burroughs had a dark fas- The format of Naked Lunch and of its predecessor, cination with ‘possession’ by malign spirits; his dread of Queer, consists of what the author called “routines:” possession may have had its roots in a childhood moles- short, satirical narratives which, somewhat like vaude- tation by his nanny” (Grauerholz 70). The nanny, Mary ville routines, depict larger-than-life characters in situa- Evans, brought a four-year-old Burroughs with her on tions of exaggerated violence and eroticism. However, an excursion to the local park, where they met up with this emphasis on drama derives from trauma, specifi- Mary’s boyfriend who, at Mary’s urging, forced the boy cally Burroughs’ shooting and killing of his common- to fellate him (Morgan 31). Burroughs’ mother prob- law wife Joan Vollmer during a “William Tell act.” This ably discovered something was off, because Mary was event, which he later claimed instigated his commitment soon asked to leave. Yet the act was never conveyed to to a career in writing, is transferred to Naked Lunch in his father. the form of routines that carry out, under their veil of The question of what the father knew proved to be a dark humor, attempts to master the traumatic effects of point of impasse in Burroughs’ psychoanalytic treat- the killing and to answer for them. ments, typified by his continually returning to, then In September 1951, Burroughs was infatuated with Lew- blanking out on the molestation. At the time of one of is Marker, a 19-year-old expatriate attending Mexico his last treatments, Burroughs became desperate for the City College (Burroughs, Word Virus 40-41). At first re- affections of his roommate, Jack Anderson (Morgan 74- sponsive to Burroughs’ sexual advances, Marker agreed 75). In a desperate plea for attention, he performed a to accompany him on an expedition to South America “Van Gogh act,” cutting off his pinky finger with a pair in search of the hallucinogenic vine yagé. At the end of of poultry shears. He then immediately presented the their trip, now put off by Burroughs’ longing, Marker finger to his analyst, Herbert Wiggers. Burroughs’ bi- returned home separately. A few days later, Burroughs, ographer Ted Morgan assessed the event as the expres- back in Mexico, had some drinks with Joan at an ac- sion of the need, after the molestation, to tell his father, quaintance’s loft, where, to Burroughs’ surprise, Marker whereby the giving of the finger amounted to the (nega- was also present. Joan, who knew of the affair, and who tive-transferentially inflected) ‘telling’ (Morgan 75). had grown increasingly weary of Burroughs’ prolonged Laura Lee Burroughs believed she could communicate absences and neglect of his parental responsibilities to with the dead, and occasionally had prophetic visions their two children, made withering remarks and jokes and dreams (Miles 21). All his life, William not only about Burroughs’ love of guns, among other subjects. believed wholeheartedly in his mother’s telepathic and At some time during the course of the party, Burroughs prophetic powers, but believed that he sometimes pos- suggested to Joan that the two of them “show the guys sessed these abilities himself. The choice of the name what kind of shot old Bill is,” and they staged what Bur- William Lee as nom de plume for his first two novels roughs called a “William Tell act.” Joan put her gin glass carries forward Burroughs’ maternal identification into on top of her head and stood at the far end of the room, the career choice that coincided with the William Tell whereupon Burroughs took out his revolver and shot act, in which the untold act was also stowaway. While her in the head, killing her instantly (Burroughs, Word writing Naked Lunch, Burroughs recalls a certain “feel- Virus 41). ing” he had the day Joan died, and traced it back to a The “act,” simultaneously performance and traumatic sense of fear and despair that came over him “for no reality, revealed itself to Burroughs as a spontaneously outward reason” when he was a child. As Burroughs composed routine which had, as its express purpose, the writes to Allen Ginsberg: murder of an intimate enemy. James Grauerholz, Bur- I was looking into the future then. I recognize the feel- roughs’ adopted son and personal secretary, makes the ing, and what I saw has not yet been realized. I can case for the confluence of Burroughs’ killing with an only wait for it to happen. Is it some ghastly occur- • ISSUE 2-1, 2011 • 34 GODLEY & HENNIG rence, like Joan’s death, or simply deterioration and picts his mother once again as an estranged and expect- failure and final loneliness, a dead-end set up where ant spectator: “Outside a Palm Beach bungalow wait- there is no one I can contact? I am just a crazy old bore ing for a taxi to the airport. My mother’s kind unhappy in a bar somewhere with my routines? I don’t know face, last time I ever saw her” (42). The next two sen- but I feel trapped and doomed. (Miles 76-77) tences drop the sentiment: “Really a blessing. She had William paints himself in the exact colors he used to been ill for a long time” (42). The illness that Burroughs describe his mother: someone deeply sad, who can only refers to is not a physical condition, but a period of se- helplessly await his doom, which he foresees approach- nility following the death of her husband (Miles). Thus, ing: “She suffered from headaches and backaches, and in his beatific impression of Laura Lee the real blessing, there was something deeply sad about her, as though she in the end, is that she ends. Symbols of departure—the expected doom to arrive at any moment” (Morgan 26). taxi, the airport—promise to expedite her towards the To Ginsberg, Burroughs explicitly admits he “had the land of the dead, whose uncanny persistence, in this same feeling the day Joan died,” and that this feeling is world, was symptomatic of an illness that afflicted her linked to a specific point in his childhood (possibly the son as much as herself. molestation, though the event is never mentioned). Hav- The style of Laura’s unmourning can be detected in ing withdrawn from drugs and temporarily unable to the series of flower-arranging books she produced for write the routines that kept mourning at bay, Burroughs Coca Cola in the 1930s. In one, she describes her home: reaches out to Ginsberg in a state of excited, even des- “It boasts no priceless furniture nor art treasures. Ev- perate urgency. Ginsberg’s characteristic maternal reas- erything about the room is a background for flowers” surance, however, inevitably fails to meet the demand of (Rae).
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