William M. Brandon III: Silence

Layout 1


Author: William M. Brandon III
Edited by: Elise Portale
Cover by: Davide Bonazzi
Pages: 112
ISBN-13: 978-0615962047
ISBN-10: 0615962041


Dean O’Leary is a man who lives on the edge: of life, love, and happiness. After a bank robbery gone horribly wrong, Dean leaves his life of crime in Los Angeles and exiles himself to the cold grey sands of Las Vegas. A cruel and unusual twist of fate shows Dean a life filled with the love and hope that he has always thought impossible, and then rips it away. With nothing left to lose, Dean goes all in on one final crime.

“Many a yarn has been woven around the quest for love. But that familiar tale starts to fray at the edges when young Dean O’Leary, a bank robber whose pinstripe suit is a better fit than the age in which he lives, packs up his cigarettes and his battered heart to start fresh in Las Vegas. With a voice and style that drag you in, Brandon sets up a character whose neurotic, mile-a-minute mind echoes the desire, anxiety, depression, and insanity found at every intersection on the road to love. From Dean’s ultimate highs to his rock-bottom lows (making a quick pit-stop at the surreal), Brandon will take you on an emotional walk in a desperate man’s wing-tip shoes—and you’ll be hooked from the very first step.”

-Elise Portale

Isabelle Aubert-Baudron: Synchronicities

WSB-IZW.S. Burroughs & I. Aubert-Baudron

Synchronicities: significant coincidences of a physical phenomenon with a psychic phenomenon, but you cannot explain the link of causality between both. Carl Gustav Jung and William Burroughs conducted researches about it, James Redfield wrote a novel, “The Celestine Prophecy: An Adventure” .

Such synchronicities escape our understanding because we tend to see reality with opposed criteria of “objective”/ ”subjective”, as if what we live inwardly would be “subjective”, i e “imaginary”, in opposition of the “objective facts” we can state, which would be only real. We also tend to believe that we are separate from our surrounding, and that there is no link between what is going on inside us and outside us.

Here the rationalists come and  say: “This coincidence is due to random”. But what does “random” means exactly? Once you have said that, where does this leads to ? How random is random? This “explanation” does not explain anything at all, and is blocking further interrogations and research on nature of reality.

Now sometimes, such synchronicities happen, which confront us to a level of reality which does not fit with this rationalist vision : there is a synchronicity between what we live inwardly and the happening of actual events without interference of our will, on which we have no control, but which have a signification just for us. So what’s going on here? We do not know, let’s see. Let’s put the rationalist  vision of reality aside for a moment and let’s apply a scientific step, starting by the observation of the facts, including the events of our inner life, what they represent for us, etc., without inferring anything from them at this step and progress starting from there.

We can base our observation on several synchronicities and see where they lead to: they often deal with issues to take in account.

Putting aside the rationalist vision of reality (XVII th century), we nevertheless have a new frame of reference through modern physics (XX th century).  We are aware of the notion of dimensions, of multi-dimensional reality, and of levels of reality.

Another domain where such synchronicities appear is in dreams: for instance I began to dream that I was losing my wallet, once, twice, thrice, and was wondering the meaning of it. One Saturday evening in a supermarket, the shop was about to close, I was the last client and in a hurry. I forgot the wallet on the cash register. On Monday morning I went to the shop and got it back. End of the dreams about losing the wallet. So what is going on here? Were those dreams meaningful to me? Yes. Since I pay more attention to my wallet, and I take in account elements of recurrent dreams.

I have got to the conclusion that we can propose the hypothesis of a multi-dimensional reality, with different levels of reality, linked between each other, which may work according different laws . For instance the laws of physics are not valid in dreams. If we try to explain a non–physical level of reality with physical laws, as we tend to do with synchronicities, then it does not fit, and we are confronted to an “impossible situation”. It may be very disturbing! Some people infer from this that they are becoming crazy. But this option also is a dead end and forbids to go further.

Now the interesting aspect here is that we can make our own research. Here general semantics has been very helpful to me when facing such phenomenons: the structural differential allows to consider them through a scientific step, and avoid the traps of some of the past contradictions and dead ends.

My research on synchronicities started with the ones which happened to me related to my meetings with William Burroughs and Brion Gysin: See at the article “The Time of the Naguals” , p. 15 to 31. This was too much ! Incomprehensible when I lived them. I had the impression to live a scenario of “Twighlight Zone” ! General semantics was very helpful here, because the observation of what was happening demonstrated that it was not something “imaginary”, nor “delirious”, but the implications required to draw a new conception of reality: synchronicities confront us to the “unknown” , and this may seem rather scary at first. I had to put up a new map, starting upon what was going on exactly, the links between inner events and the ones happening in physical world, etc., and considering it through a scientific step, through a quantic vision of the world. Then, what was not comprehensible to me before on the old basis became comprehensible in terms of physics. On this basis I could put up new hypothesis, and integrate those synchronicities as part of reality of human life, as something “normal”, compared to when it first appeared to me when I lived them: something incredible and not “normal” at all. It’s a part of the human program we do not use in our civilization, because we do not know about it and have no map to apprehend it correctly; but it’s just like a program on our computer we do not use, but which we can virtually use if the occasion occurs.

Our maps of reality do not represent the actual territory. Though it seems that the exploration of our territory can only be realized by us: only I can know the link between inner events and a physical event, its meaning can only appear to me. This leads to the exploration of our inner space. Again general semantics is a real help, because it allows not progress safely, step by step, without getting lost in mental dead ends. Investigate on the situation as if we were a police inspector investigating on an affair and gathering the elements to understand it, and taking it like a game as well.

A.D. Winans: new book out by middle of march

The re-issue of my award winning book (This Land Is Not My Land) by Presa Press will be out in March.  The new book will be perfect bound, with a new cover photo, and distributed in both the U.S. and in Europe.  The new cover is based on the old « New Directions »B & W look.  I’m psyched (not psycho) about the book.

A.D. Winans

Charley Plymell Tells and Shows in Strings of Emails


February 26, 2014 by

Charley Plymell shows a painting that William Burroughs gave him.

Charley Plymell’s long, seemingly endless strings of emails are fascinating to read. He has known so many Beat writers and artists and has popped up in so many places with them that I can’t help thinking of him — half in wonder and half in disbelief — as the Zelig of the Beat Generation. Unlike Zelig, however, he has actual evidence to support his many, many tales. There he is in snowy Cherry Valley, for example, displaying a painting by William Burroughs that Burroughs once gave him and his wife Pam. “We sold it over phone … 3 grand,” he noted, and attached the photo. And there he is, in another attachment from another email, on a poster to promote a recent appearance in Brooklyn with Gerard Malanga. Of course, if you call Charley a Beat poet, he’ll tell you he is no such thing and you may be subject to a lengthy rant about various Beat luminaries who failed to live up to his ideals.

+++One reason those strings of emails make interesting reading is that Charley’s correspondents, among them A.D. Winans, Roxie Powell, and too many others to name, love to jump in with tales of their own. Here’s a tale Powell told about San Francisco that caught my attention. I call it Side A, because it turned out to have a Side B.

Side A

Most of the time I went to a bar on Grant Ave., and wish I could remember the name. It was about a block back down Grant from Gino and Carlos. Had plenty of good escapades there. My favorite was the night some stewardesses were there and guys were hitting on them and they had the center of attention down at the end of the bar with their backs to Grant Ave. A lady comes in and sits at the bar to my right a couple of stools and orders a beer. After listening to the Stewardesses for a few minutes she turns to me and says, “Personally, I’d rather do it than sit around and talk about screwing all night.” Took me a moment to digest that, and I said, “Yeah, I agree.” Then she said, “Do you want to do something about it?” “Sure,” I said. So we left and I followed her in her car out Geary Boulevard until we got to her apartment. Went upstairs and had a wunnerful time. Next morning she gave me her card, she was an operating room surgical nurse and did not get off duty until 12 midnight. Too late to have normal acquaintanceship, she said. Said I could call her anytime and if she was tied up she would say. Otherwise I could come up. I carried that card around in my billfold until it got mold on it. As long as I had it on me I felt warm and serene.

As I recall, Winans guessed — correctly it seems — that the bar Powell was talking about must’ve been the old Coffee Gallery. I messaged Powell that I wanted to post his story. He replied with the other side of that tale.

Side B

Things didn’t always happen so smoothly in that place, at least for me. One night I was sitting about where those stewardesses were and a lady popped onto the seat next to me. She seemed to think that I couldn’t help myself from hitting on her. So she looked at me and said something like, “So you like to come in here and hit on us, just like all these other guys. They make me sick.” “Well,” I said, “It’s better than lying on the bed upstairs and masturbating.” And at that she spit at me and, with a few words, left. Several patrons looked at me like I had attempted to rape her. This was long before anyone could under any circumstances at all admit to onanism.


ActuaLitté: Harpignies, dans l’atelier du faussaire, entre toiles et mystères


Harpignies (Paquet) de François Darnaudet et Elric est un joli hommage à la peinture, à la jeunesse et à l’amour. Un hommage qui emprunte une forme inédite, entre le biopic et la semi-fiction ! 

Le biopic, c’est celui d’Henri Harpignies, paysagiste de l’école de Barbizon célèbre à son époque, mais bien oublié aujourd’hui. La semi-fiction nous raconte un épisode récent de la vie d’Elric Dufau-Harpignies, scénariste de cet album, et arrière-arrière-arrière (ouf !!!) – petit-neveu d’Henri. 

Rebaptisé Éric dans l’album, nous le voyons se rendre à Perpignan afin d’assister à la crémation de sa grand-mère. Il peut ainsi revoir ses parents, qui lui apprennent la vente récente pour cause de soucis financiers du seul tableau de son ancêtre jusque-là propriété de sa famille. Le jeune homme peut malgré tout récupérer un carnet de croquis rassemblant des caricatures, un aspect du travail d’Henri Harpignies qui intrigue Éric, jusque-là plutôt sévère pour ce peintre paysagiste qu’il juge académique, pour le peu qu’il connaît de lui.

Le récit de sa vie, et plus particulièrement de ses années de formation lui plaît beaucoup, car Henri est aussi à l’aise un violoncelle entre les mains qu’un pinceau au bout des doigts, comme Éric avec sa guitare et son crayon. Le TGV qui le ramène à Paris tombant en panne dans la gare de Montpellier, Éric se rend au musée Fabre pour tuer le temps, et qui sait, y trouver une toile d’Harpignies.

Par chance, il y en a plusieurs, et devant l’une d’elles, une délicieuse jeune fille occupée à la recopier pour sa thèse sur l’école de Barbizon. Fort de ses liens familiaux avec le peintre et armé de son carnet d’originaux, Éric séduit la jolie Marie qui le rejoint la semaine suivante à Paris. Entre une visite au musée d’Orsay et un peu de farniente dans le jardin des Tuileries, une idylle se noue.

Mais vivre d’art, d’amour et d’eau fraîche, c’est un peu frustrant. Alors, Marie a une idée : Éric s’est pris de passion pour les toiles de son ancêtre, et réussit désormais à peindre selon son style. Formée à la restauration des tableaux, sa jeune compagne peut leur donner la patine de l’ancien. Pourquoi dès lors ne pas réaliser des faux Harpignies et les vendre à la cote ? Un jeu dangereux et tentant…

Harpignies est un album très séduisant, dont la narration fonctionne parfaitement. En parallèle d’une histoire d’amour contemporaine, simple et rafraîchissante, on replonge dans le passé en égrenant quelques moments déterminants de la vie d’Henri Harpignies.

                            HarpigniesHarpignies – François Darnaudet et Elric, sur BDfugue.com

Instrumentiste doué, il s’oriente malgré tout vers la peinture en entrant dans l’atelier de Jean Achard. Son séjour en Italie lui permet de fixer les grandes lignes de son art. Travailleur acharné, il forme de nombreux élèves et meurt quasi centenaire. Un parcours marqué par l’idéalisme, un parcours bien différent en l’occurrence de celui d’Éric.

Et pourtant, les deux hommes ont quelque chose en commun : également doués pour la musique et la peinture, ce sont avant tout des créateurs, qui ont besoin d’un évènement décisif dans leur vie pour choisir l’une ou l’autre de ces disciplines.

Pour Henri, la découverte des paysages italiens, et pour Éric, sa rencontre avec Marie. Au fil de dialogues pleins d’humour – le héros adore les jeux de mots un peu foireux ! – mais également de naturel, cet album nous tient sous son charme.

Le dessin peut sembler un peu limité quant aux décors ou aux expressions des visages, mais c’est être sévère que dire cela, car on ne se pose jamais ces questions pendant la lecture.

Et les couleurs sont pleines de douceur !!!

Voir quelques planches de la BD à http://www.actualitte.com/critiques-bd/harpignies-dans-l-atelier-du-faussaire-entre-toiles-et-mysteres-2322.htm

LIZIERES : PIQUE-NIQUE #11 « Sillons » (ce week-end à Lizières !)

Pique-nique Sillons  

Les Amis de LIZIERES vous accueillent pour le premier pique-nique de l’année 2014, 
et la présentation du travail des artistes Gwennaëlle Roulleau et Laure Bollinger en résidence à Lizières à l’automne 2013, 
résidence soutenue par la DRAC de Picardie.
Dimanche 02 Mars 
à partir de 11h et jusqu’à 16h 
Au programme : 
Sillons, pièce sonore de Laure Bollinger et Gwennaëlle Roulleau
Fruit d’une collaboration entre Laure Bollinger et Gwennaëlle Roulleau, en résidence à Lizières, Sillons est né de l’envie de découvrir un territoire en l’arpentant, d’en saisir les contours, balancées entre l’envie de se situer et de se perdre à la fois, et à travers cette itinérance de se rencontrer.
Sillons est une carte sonore d’un territoire, d’un « coin » comme on dit vaguement, celui d’Epaux-Bezu et de ses environs. Une carte dont les lignes et les courbes se révèlent sous les récits des parcours de ses habitants. Autant de voix qui gravent Sillons et dessinent les paysages…
 et aussi
une réponse vidéo de Laurent Gérardi, à partir des images d’un film documentaire sur des sentiers ardéchois (en cours d’élaboration). 
des extensions sonores, d’œuvres réalisées ailleurs, radiophoniques ou électroacoustiques de Gwennaëlle Roulleau et Laure Bollinger sur le thème du lieu et de la nature, en écoute sous casque
Et un pique-nique…
préparé par Emilie Le Goulvout, Pierre Lanneluc et Carolina Daza
Participation aux frais :
10 euros + cotisation aux « Amis de LIZIERES » 2014 pour les non adhérents
Réservez dès à présent vos places à cette adresse : reservation@lizieres.org
Nous vous adresserons un formulaire d’inscription ainsi que les modalités de règlements en retour.
Pour se rendre à LIZIERES :
En voiture (86 km à l’est de Paris – environ 1h10) :
depuis Paris, prendre l’autoroute de l’est A4 vers METZ/NANCY > 
prendre la sortie n°20 CHATEAU-THIERRY > prendre la D1, direction SOISSONS 
à la sortie de BEZUET prendre immédiatement à gauche la D87 jusqu’à EPAUX-BEZU.
LIZIERES, au coeur du village d’Epaux-Bézu, se trouve sur la route de BUIRE 
dans l’ancien domaine du Château d’Epaux (11, allée du Comte de Lostanges – 02400 EPAUX-BEZU).
En train :
Départ de Paris Gare de l’Est à 10h36, arrivée à Château-Thierry à 11h22
Départ de Château-Thierry à 17h01, retour à Paris à 17h53
Depuis Château-Thierry, des navettes LIZIERES peuvent être mises en place pour votre arrivée, 
n’oubliez pas de nous le préciser lors de votre réservation.
Pedro Serra, président de l’association des « Amis de LIZIERES » 
Ramuntcho Matta, directeur du Centre de cultures et de ressources LIZIERES 
Les Amis de LIZIERES 
association à but non lucratif créée le 18 septembre 2009 pour permettre au projet LIZIERES de voir le jour. 
11, allée du comte de Lostanges – 02400 EPAUX-BEZU / +33 (0)9 51 07 13 74 
pour plus de renseignements : www.lizieres.org 

AD Winans: Presa Press to reissue my award winning book: This Land Is Not My Land with distribution in both the U.S. and Europe.

Just a note to let you know that Presa Press is re-issuing This Land Is Not My Land in a 2nd, improved edition.

The new printing will have a perfectbound spine and an ISBN and Library of Congress number, bar code, etc.  They will nclude the Panama poems that were later published in Presa Magazine.

The  book  will also be released in Europe in 22 countries, through Gazelle Books Ltd.

I’m pleased that the book will move from the previous chapbook status to a perfect bound book with distribution in both the U.S. and in Europe.