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GPDF282-BB-W.Pdf WALLPAPER Bruce Boone Bruce Boone in Conversation with Evan Kennedy 7 WALLPAPER 13 Bruce Boone in Conversation with Evan Kennedy 551 to Daddy Spencer Walter Remington Bruce Boone in Conversation with Evan Kennedy May 17, 2019; Bruce’s Apartment in San Francisco EK: What would you like readers to know about WALLPAPER? What was your method of composition? BB: In the olden days while we were fighting the Language poets, I decided I would be the ideologue and pit-bull against Ron Silli- man. I called his writing “wallpaper.” I did apologize a few years ago, and he said something a bit nasty in return because I didn’t expand upon it. But since then, I’ve been doing all this other stuff built around mess at all levels. It also goes along with the lin- guistic streamlining or minimalizing of American language that’s going on very noticeably now, especially if you have the ears to compare it with the slowness of linguistic change of the past. The Persians are the great example of this minimalizing from clas- sical antiquity. It started out as just a tiny sliver of Iran, then they went to India, then Afghanistan, then west — Greece, Macedonia, the Middle East. The language before the empire was syntacti- cally complex and inflected, but if you’re the Persians, you’re the masters. If you’re going to say “Tote that barge, lift that bale” to fifty-eight different nationalities, they have to understand you. By the end, they came out with no inflections, no syntax. What happens in this country? There are a lot of impulses toward simplifying. Rachel Maddow says “fulsome” and she thinks it means full, totally full. Well, you do remember, do you, that it means slightly stinky or icky? The end of the world and the species is coming in. We want to simplify everything because we cannot keep up those standards of complexity. It’s entropy of language and of the world. It’s our destiny to move faster and faster toward entropy. Therefore, mess, or sloppiness even, is a desideratum. It’s something you want rather than thinking of a text as a perfectly shaped story with a beginning, middle, and end. No. You can begin anywhere and end anywhere in wallpaper writing, which is my new genre. And it will all be the same. EK: Your advice to readers is to pick up anywhere. BB: Right. Bedside table before-you-go-to-sleep reading. “Oh, I’ll try page… 334 and see how that is.” And it’s either boring or you like it, then you try something else for five or ten minutes then shut the book and go to bed. There is no more unity. It’s just en- tropy. We should be realizing that in language since it’s the reality of reality. 7 EK: But there’s something else that compelled you to write this. It’s a love poem. BB: Yes. Steve is a sex worker boyfriend of mine whom I see as a sex worker, but also as friends we hang out several times a month. Sometimes the lines blur, sometimes they don’t, but he’s been a center of my life for five years. Every morning, I started the day by getting up and doodling about Steve. There is the axis of love/sex, which brings things together in strange new ways as entropy begins to fog things. You see in the poem that this arm detaches and is connected to Venus, and Neptune is connected to my right ear. EK: When I reconnected with you a few years ago, you said you were fast-tracking enlightenment by continuing your Zen meditation practice, taking DMT, and seeing a dom. BB: Lovemaking and love result in new ways of connections, but in some way Steve is a force for disorder in my life. I have never done much cuddle sex. I originally saw him online in the lineup of rent boys and men. When he came over, I said, “I think I might have some possible submissive tendencies that I repressed all my life. Do you think you can help me?” And he says yes in his polite Mormon way and starts whaling on me. First he slaps me, then he pinkens my backside, and I am outraged. EK: And he called you multiple things. BB: Multiple things. We finally arrived at “princess.” And gradual- ly, all the really painful stuff stopped. Then it got down to where it was not painful. I told him the other day, “I have the feeling that you want to do what you’re doing ten times more energet- ically.” Steve, more than top, is a dominant, aggressive person, highly testosterone-driven. His answer was, “Well, I’m just as satisfied, if not more satisfied, this way—that is, without causing you pain—because of affection.” That’s lovely because I don’t like pain. What I really wanted to experience was elemental forces of sex where it’s like psychedelics. EK: And your Zen practice? BB: Less so with Zen. The stronger the doses of DMT I got over two-plus days, there was no Bruce, no things, just immense power like Yahweh on top of Sinai except to the nth degree. It was streams of energy power. At some point in the midst of the highest dose of this, I found myself flinging my legs open and saying, “Fuck me.” And I had Steve in mind. Steve stands for something in my life that is so overwhelmingly powerful that it’s not even a choice to defer, it’s just my nature. Forces in a force field without any discrete enti- ties translates both into Steve and into WALLPAPER. 8 WALLPAPER also implies some… I would like to say plan, guid- ance, or governor. Not god, but some direction for all of this. You could say neg-entropy, maybe. EK: What is the fantasy in WALLPAPER between you and Steve? And how does it differ from when he comes over for sex or when you two have coffee? BB: It doesn’t differ. The Pacific Northwest is a destination, or real- ly just the end of a band, I-5, the other end of which is LA. There’s a preoccupation with traffic and naming cars and vehicles in motion on eight lanes. That’s consistent imagery from Pink Sperm to WALLPAPER. I think it means a visualization or figure of this DMT-inspired understanding of the universe as immense waves of power without discrete entities. But if you’re going to make a piece of poetry, you have to use discrete entities even though there really aren’t. There’s crash-ups, vans with white trash cowboys with rifles following, and destructiveness all around. That’s the meaning of I-5. EK: There’s also a z-axis. It takes place in space as well. BB: Yes. A minute and twenty seconds from now, a plasma wave might completely annihilate us, and we would never even know. The more you learn about the cosmos, you realize that everything about it squishes out life. EK: Even in orgasm? BB: Orgasm is like you have departed the planet and joined the mothership. You can call that being alive or being transformed by the operation into an alien. You’re not really alive, but there’s a ghost of aliveness. We know that aliens are like triangle-heads. They have way too much cerebral cortex for their own good, and they don’t know what to do with their mouths or their ears, which are teeny-teeny, so they’re really spiritual. So “spirit” and “death” come to mean the same thing. EK: You’re getting to them, joining them through sex? BB: That is one way. EK: In the poem, there’s also a masculine/feminine dynamic. BB: There are things like silk ribbons floating through the poem and bits of lace. It gradually should become apparent to the reader that there’s lingerie and makeup on my totally pure person, as requested by Steve. This is the problem in my own mind. This is the only experience I’ve had with this, so I take it to be equal to reality. As Steve has explained it, the way you dominate another man if you are a man 9 is you feminize him. That accomplishes the task of submission. I’m not sure that’s a universal truth. I’ve only experienced this with Steve—well, a couple other guys, just a couple… Well, may- be three or four. I don’t know whether feminization-equals-domi- nation is universally true. I’ve had no other experience to compare it with. EK: What do you think Steve will make of this poem? BB: He has read all of it, all six hundred-some pages. He reads re- ally fast. It took him less than a week in between sex work. I want him to be flattered. I took him by the shoulders while we were having coffee, and I said, “Spencer, you’re going down in history because of this. You’re going to be famous because of me.” That was snide and snotty of course— EK: And a little playful. BB: And playful. Anyway, who doesn’t cut moral edges? That was a joke to anyone who is reading. I hope you realize that. EK: So this is a style of courtship? BB: You might say. EK: And isn’t courtship an attempt at domination? BB: Yeah, it is.
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