It might be inferred, from what I’ve said, that any old remix will do. Not so: there are good and bad ones. Tristan Tzara cutting Shakespeare sonnets up and pulling their words from hats is an exercise in randomizing. William Burroughs and Brion Gysin mixing poems in with sliced-up pages of The New York Times is quite another matter: it is assiduous composition—composition understood in all its secondary nature: as reading, tracing, reconfiguring. Using the same technique, Gysin comes up with a few clumsy permutations along the lines of “Rub the Word Right Out . . . Word Right Rub the Out” and so on—whereas Burroughs generates such gorgeous sequences as:
Visit of memories. Only your dance and your voice house. On the suburban air improbable desertions . . . all harmonic pine for strife.or
The great skies are open. Supreme bugle burning flesh children to mist.
Why does Burroughs conjure so much more richness from the same source material? Because (unlike the painter Gysin, whose skill lies primarily in the domain of images), he has uploaded the right verbal remix software. He has read and memorized his Dante, his Shakespeare, his Eliot—to such an extent that his activity as a composer consists of giving himself over to their cadences and echoes, their pulses, codas, loops, the better that these may work their way, through him, The New York Times and any other body thrown into the mix, into an audibility that, booming and echoing in the here-and-now, transforms all the mix’s elements, and time itself.This is what all good writers are doing, and always have been.