sexta-feira, 25 de outubro de 2013

INTERVIEWER: What do cut-ups offer the reader that conventional narrative doesn't?

BURROUGHS: Any narrative passage or any passage, say, of poetic images s subject to any number of variations, all of which may be interesting and valid in their own right. A page of Rimbaud cut up and rearranged will give you quite new images. Rimbaud images — real Rimbaud images — but new ones.

(...)

INTERVIEWER: Instead of going to the trouble of working with scissors and all those pieces of paper, couldn't you obtain the same effect by simply free-associating at the typewriter?

BURROUGHS: One's mind can't cover it that way. Now,for example, if I wanted to make a cut-up of this [picking up a copy of the Nation], there are many ways I could do it. I could read cross column; I could say: "Today's men's nerves surround us. Each technological extension gone outside is electrical involves an act of collective environment. The human nervous environment system itself can be reprogrammed with all its private and social values because it is content. He programs logically as readily as any radio net is swallowed by the new environment. The sensory order." You find it often makes quite as much sense as the original. You learn to leave out words and to make connections. [Gesturing] Suppose I should cut this down the middle here, and put this up here. Your mind simply could not manage it. It's like trying to keep so many chess moves in mind, you just couldn't do it. The mental mechanisms of repression and selection are also operating against you.

Extracto de uma entrevista com William.S. Burroughs publicada em
Writers at Work, 3rd Series: The "Paris Review" Interviews;
Penguin, 1978.