WANNA GO OUT?
BITMAN: Alternative Society Bible & Survival Manual and Classified Directory for Active Deviants - No. 2 - July 1970
ARCHIGRAM NINE [9]
FAC51 - THE HACIENDA [Membership Card to The Hacienda Nightclub]
KULCHUR - Vol. 2 No. 5 - Spring 1962
NAKED CITY [Ex-Libris Ralph Ingersoll, Founder of PM Newspaper]
FUCK YOU: A Magazine of the Arts - Number 5, Vol. 4
[Typescript Letter to William Levy with Original Watercolor Painting to Verso]
THE SUPER SNEAKER BOOK

[Typescript Letter to William Levy with Original Watercolor Painting to Verso]

BEILES, Sinclair

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Price: $600.00


[early 1970s]. Single sheet, 9.5" by 6.75". Approx. 363 words. Unsigned and undated. Verso painted in blue and red watercolor. Very good plus. Lightly toned, folded several times horizontally for mailing, else clean. (Item ID: 19950)

Typed letter and original watercolor by Sinclair Beiles, often referred to as the only South African member of the Beats. Beiles was instrumental in the publication of Naked Lunch, helping to edit the work in Tangiers with Burroughs. And as an editor at the Olympia Press, he also helped to usher the book to publication. In addition, as a resident of the famed Beat Hotel in Paris, he was a key figure in the development of the "cut-up" method of composition best exemplified by Burroughs and Brion Gysin, and co-authoring with both the classic MINUTES TO GO. The letter was mailed to William Levy, an American expatriate poet (he resides in Amsterdam) and editor of the underground newspapers THE INTERNATIONAL TIMES and SUCK. Beiles' letter, rife with typographic caprices and errors, begins: "i often think of buying the bones out of geraards body," and continues with a discussion of MINUTES TO GO, which he writes was "a great big fuckup. i suggested the idea to these old croakers after reading my version of tristan tzaras first collection of peoms called illumxationsin white tobacco smoke [...] what happened was this. i got everyone to cutup in bowls in gysins room i almost forced them to put words together one after another [sic all]." The watercolor on the verso of the letter depicts four or five bodies in a kind of crazed dance. Altogether, quite an interesting document from this Beat associate, offering a unique anectodal perspective on one of the most important publications from the Burroughs canon.


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