This, then, is not a review; it's an acknowledgement of a new book.
There’s a lot of material in Cut Up!’s 394 pages—poems, prose, artwork—that I look forward to lingering over and processing at my leisure. Then I may come to understand fully what Joe Ambrose and A.D. Hitchen have assembled in this anthology of cut-up-technique writings. Also, I’ve written the introduction to Hitchen’s “Split-Beaver” poems, which are drawn from my book Beaver Street: A History of Modern Pornography.
A bit of essential history: One way to perform the cut-up technique, popularized by William Burroughs a half-century ago, is to take a complete text (like Beaver Street), cut it into pieces with one word or a few words on each piece, and then rearrange the pieces into a new text. Another way is a “Third Mind” collaboration, pioneered by Burroughs and poet Brion Gysin; the author combines words cut from a text with his own words. Cut Up! (Oneiros Books) features both techniques, and includes works from well-known writers, like Allen Ginsberg (“Notes on Claude Pélieu”).
Many of the contributing authors are names I’ve become familiar with through social media. Among these dedicated practitioners of this avant-garde art form are: Kenji Siratori (“The Worst Deadly Bank Account Number in the History of the Universe”), Christopher Nosnibor (“Flickering images: life-size shadow-puppetry”), Gary J. Shipley (excerpt from Spook Nutrition), Niall Rasputin (“disgraceful blade”), Muckle Jane (“Recipes”), Cal Leckie (“Micro-Verse”), and Lucius Rofocale (“Ne/urantia: Close Encounters of the Third Mind”). Billy Chainsaw and D M Mitchell contributed artwork.
A word of caution to those with delicate sensibilities: Phrases such as “corpse fetish pussy gangbang” (which I’ve cut from Siratori’s “Phishingera”) occur with frequency.
More adventurous readers, however, may argue that they do not occur frequently enough.