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Across The Wire Vol. 8

O  U  T    OF THE   W  O  O  D  W  O  R  K 

By Bill Whitten

Scene I: Duluth

Entomologist Vann Maguire, age forty-eight, powerfully built with salt and pepper beard and hair paces behind a lectern in front of an auditorium half-filled with undergraduates. He writes two words on the blackboard: Cimex lectularius.

“Of all the biting, blood sucking bugs of the world, this little fellow – the common bedbug – has made an incredible, headline grabbing comeback. A persistent problem since antiquity – can you imagine historical figures from Plato to Winston Churchill were covered at some point in their lives in bedbug bites? Until well into the twentieth century most people were on familiar terms with Cimex lectularius.”

He removes a remote control from his jacket pocket and presses a button.  A photograph of Cimex lectularius flashes on a screen behind him. 

“For all his evolutionary brilliance he remains an exceedingly ugly little devil. Note his stylet fascile – the two fang-like mandibular protuberances which he uses to chew through the flesh of his victim.” 

He points the remote. On the screen appears an image of a naked torso covered in red bite-marks the size of quarters. 

A collective ewwww from the students.

“And we all know what they do…” 

Again he waves the remote and this time a stock photo of a generic baseboard and wall fills the screen. ”…and we know where they like to make their homes. Not in tiny coffins which would seem appropriate but in our walls, woodwork and baseboards.”

He throws the remote control on the lectern. Hands in his pockets, he faces the students.

“So for millennia we are at the mercy of this relentless creature until”, his voice booms, “science to the rescue! With the discovery of powerful insecticides we put Cimex lectularius on the ropes. DDT and other, similar chemical treatments more or less wiped him out. But thanks to supposedly well-meaning environmentalists – cue the eerie horror movie music – the twenty-first century rolls around, DDT is banned and suddenly we look in the New York Times and find intractable infestations reported in Amsterdam, Paris, London, Madrid and finally – this is when it begins to penetrate the consciousness of the average American – New York City.  And these babies are a new breed. Tough does not begin to describe the contemporary Cimex lectularius”.  

Maguire lets his body fall against the podium. He rests his head on his hand, as his dark eyes search the auditorium. When he speaks it’s in a voice that rises and falls dramatically, theatrically. He seems on the verge of tears or roaring rage.

“A colleague and I discovered – well let’s just say my protégé stole most of my research and published it as his own – we discovered, I discovered that if one introduces the AIDS virus, the Hepatitis viruses A, B or C into the body of Cimex lectularius, why our little friend kills these otherwise indestructible pathogens almost immediately. Truly remarkable. What accounts for this eleventh hour comeback and this new, almost immortal durability?”

He begins pacing again.

“Corporate lobbyists in the pay of Dow Chemicals will tell you it was caused by the needless ban on Zyklon-B and DDT. While conspiracy theorists maintain the vampiric superbug crept out of biowarfare labs in Russia or Red China or perhaps our very own Plum Island. The fact is an arcology made in heaven for Cimex lectularius has been created. i.e. a highly mobile managerial class deprived of job security and any sense of permanence now flits from city to city and thanks to inexpensive transcontinental air travel has the option of going to sleep in San Francisco and waking up in Vladivostok. A truly footloose international bourgeoisie. Once upon a time it invented high culture”, he lowers his voice to a whisper, “now it spreads contagion.”

He stops pacing and pulls an old-fashioned pocket watch from the vest of his three-piece black suit. “I’ll have to leave it there. Time is short and I know you’re all eager to begin studying for your midterms. Heaven forbid I keep you.”

As he gathers his papers and throws a blue, cape-like loden coat over his shoulders, a pair of female students approach the podium. A brunette in black turtleneck, jean-jacket with a backpack slung over a shoulder smiles at him. “Will you be going to Cicero’s Tavern after class, professor? This might be our last chance to pick your brain before midterms.”

The professor grins, white teeth flashing through his beard. As he addresses the two young women his eyes fix on a third, a redhead, who remains seated in the front row and observes him with a wry smile.

“As much as I’d like to, Sarah,” he nods at the blonde “and Chelsea. A mole that I have managed to place deep within the Administration – come to think of it not unlike Cimex lectularius – has warned me that certain powerful members of the board of trustees have been keeping a close watch on my activities. We all know about my troubles at Columbia. I have no inclination to tempt fate, repeat history and jeopardize in any way my position here. If you had the sizable alimony payments that I have, perhaps you girls might understand. Why don’t you come see me during office hours.”

Scene II: Lower Stratosphere

Geneticist Ludlow Swift – British, navy suit, open collared white shirt – runs a hand through his blonde hair and pushes on the bridge of his horn-rimmed glasses. Pursing his lips he looks out the window from his first class seat aboard China Airlines. The sun is like an interrogating eye above a sea of clouds. He turns away from the window, brow furrowed by an expression of worry. 

“Would you like another Glenfiddich sir?” A stewardess hovers over him.

He looks up at the smiling young woman. “I couldn’t possibly…”

She moves her cart down the aisle.

He turns his attention to his laptop. His fingers fly over the keys. The words Message Encrypted flash across the screen. He begins to type.

Ian

Before I boarded my flight I was given confirmation that Dr. Tsien received the ‘package’. It certainly pays to have friends in the diplomatic corp. Who would have imagined delivering the potential AIDS cure to our putative enemies in Beijing would be so easy? Trials of Red Factor IV will be underway within a fortnight. It goes without saying I couldn’t have done it without you, Ian. I have to admit however that my excitement is tinged with a bit of anxiety – Dr. Tsien’s methods are extremely unorthodox to say the least. Bioethics is not a concept the good doctor seems to be familiar with. He almost seemed to imply that the prisoners – the Red Factor IV test subjects – were deliberately infected with HIV in order to provide suitable candidates for the trials. If this is true, well…My god, I’ve never heard anything so monstrous…

Hopefully I’m just being my usual paranoid self. But this will be one of the first things I bring up when I meet with Tsien.

Talk soon,

Ludlow

Scene II: New York

In a dark office, Ian Martinez’ gaunt yet strikingly handsome face is lit by the screen of his desktop computer. Behind him windows look out onto a dark city street. In front of him, on the other side of a clear Plexiglas wall is a lab filled with medical equipment and closed circuit TVs. 

Images of a dozen caged rhesus macaques are visible on the screens of the TVs. On most of the screens the monkeys appear to shriek and violently leap about.

Ian’s eyes skim Dr. Swift’s email.

“A fortnight?” Under his breath he mutters, “I can’t wait fourteen fucking days for the trials to begin. At this rate it will take months before we have any results…”

His colleague Maurelle sticks her head in the door of his office. He looks up. “Yes?“

“That’s it for me, Martinez. I’ve had enough. I don’t know how you do it. I need sleep. See you tomorrow.”

Distractedly “Yes, tomorrow, Maurelle, always tomorrow…” 

She closes the door behind her. 

“For some of us that is…”

He pulls open a drawer, removes a syringe, an ampule labeled with the word Morphine Sulfate and a length of yellow rubber tubing. He fastens a tourniquet above his elbow, draws a portion of the drug into the syringe and injects himself. For a moment an expression of pure, almost religious ecstasy lights his face. He unrolls his sleeve then like a roulette dealer raking chips from a table, brushes the drug and his paraphernalia into a drawer. He locks his desk, stands up and walks out of the office.

Sliding a keycard through a lock he passes into a section of the lab filled with caged animals. After traversing row after row he stops in front of a tiered set of cages. A piece of masking tape imprinted with the word Willie is affixed to the door of the top cage. Ian reaches a hand out and shakes the cage door.

“You’re doing great, aren’t you Willie? Your T-cell count is back to normal, your weight has stabilized and the PCP pneumonia that had you on death’s door is completely gone. The only thing is…you sleep all day, you react negatively to light and only become active some time after midnight…”

Ian rests his head against the cage. “Except for our T-cell counts, you and I have a lot in common, buddy.”

From somewhere in the back of the cage, the unseen macaque coos in response. 

“I wish I could share this with you, Willie. It might perk you up.”

He reaches into the pocket of his lab-coat and removes a clear vial of white powder. He shakes a pile onto his fist and snorts it. He throws his head back and begins grunting madly like a chimpanzee.

“What is something all primates have in common Willie? We’re all risk-takers. We like to live on the edge. You and me buddy. Risk takers par excellence.  And what does one do when protease inhibitors no longer do a damn thing? Where do I turn Willie? I’m so tired. It’s like I’m carrying a great weight on my shoulders. I guess dying makes you tired.”

He dumps more of the drug onto his fist. He snorts it.

“I think we both know the answer don’t we Willie? We know what must be done…”

Ian turns and walks away. Over his shoulder, “See you soon buddy.”

As Ian leaves the animal lab, Willie appears from the dark recesses of the cage and grips the bars. He returns to his dark corner and begins shrieking as if in incredible pain.

On the closed circuit TVs Ian can be seen sliding his key card through an electric lock and then entering a lab door marked BioreactorsAuthorized Personnel Only. On another CCTV he can be seen exiting with an IV bag filled with a ruby liquid.  Back in his office he pulls on a black leather jacket and places the IV bag in a Styrofoam cooler.

As he enters an elevator he lights a cigarette. The doors close.

Scene IV: Shanghai

Pale, stocky,  middle-aged, clad in a white lab-coat, hands clasped behind his back, Dr. Dingxiang Tsien whistles as he walks down a long hallway of a dungeon-like prison. Outside a cell-door medical staff wait next to a cart filled with surgical instruments and transparent IV bags filled with a red liquid hang from portable IV stands.

Dr. Tsien sidesteps the staff and walks into the cell. A woman, in her early thirties, lies in a hospital bed. Her body is confined by restraints. Dr. Tsien picks up the chart at the foot of the bed. He turns pages.

“Chenguang, how are we today? Are you in the mood to make history?”

Her half-shut eyes attempt to focus on Dr. Tsien. It’s clear she has been drugged.

He shakes his head sadly. “Would you believe that I managed to find one of your loathsome books of poetry?”  

In a singsong voice he recites:

Just as the newspaper yellows

and the white spider’s filaments catches no flies

And the riverman’s boat lies still in pathless waters

It is my destiny to lift Oblivion’s veil.

“When I first read these lines I thought to myself; what rubbish! Were my parents needlessly slaughtered in the Cultural Revolution so subversive bourgeois scum like you could write such filth? But then, Chenguang, I began to see the genius of your verse. It fits the task we will undertake today. The lifting of oblivion’s veil at last. This is our work. Yours and mine.”

He turns and motions to the medical staff in the hallway. In moments a red IV bag drips into the young woman’s veins. She remains motionless, inert. And then a tremor passes through her body. A red flash tints the retina of each eye. The doctor and the staff are unaware as they move on down the hall to the next cell. 

Tsien unlocks the door and speaks softly: 

“Mr. Huang do we feel like making history this morning? Be honest with me. You would like that wouldn’t you? To be a part of something special?” 

Scene V: Duluth

Sheet pulled to his waist Vann leans against the headboard of a king-size bed, hair mussed, breathing hard. A tumbler half-filled with an amber liquid rests on his stomach. The redhead from the classroom lies next to him.

Sweat dampens her hair. A look of astonishment on both of their faces. Vann lifts a bottle from the floor next to the bed and freshens his drink. The redhead stirs.

“What was that business about your protégé stealing your work? You’ve never mentioned that before…”

Vann sips his drink and sighs. 

“I don’t know why I brought it up, Tanya. It’s something I usually can’t even bear to think about…” He finishes his drink in one gulp. Voice rising “It fills me with…” He hurls his empty glass across the room into the fireplace. The fire burns on undisturbed. “It fills me with…incalculable rage, baby.” Whipping the sheet off he rises and begins pacing around the room. 

“Ian Martinez. My sycophantic protégé. A whizz kid, an interdisciplinary genius. An entomologist, a geneticist, a medical doctor…I’ve never met anyone like him…thankfully. When I discovered the surprising immunological responses of the common bedbug, why we were both starry-eyed with the possibilities. Cures for AIDS, Hepatitis C, Leukemia all within sight…Blinded by my own optimism – I’ll never make that mistake again – I failed to miss all the little warning signs that would have tipped me off to the fact that my bright young assistant had developed a serious drug problem. When he wasn’t in the lab with me he was on the nod in some god-awful shooting gallery in Harlem, the proverbial needle sticking out of his arm.”

Vann sits down on the edge of the bed and drinks straight from the bottle.

“Then what happened?”

“What do you think happened? I get an email from a colleague. ‘Hey Vann have you seen the latest issue of The Lancet? Your boy Ian just published a rather shocking paper.’”

He begins pacing again. “Of course I did what anyone would do. I found him and beat him nearly to death. Little shit that he was, he managed to video the beating with his iPhone – it may well have been his plan all along. And before you can say Fuck Me, I was locked up in the Tombs awaiting arraignment on felonious assault charges…The DA cut me a break and knocked it down from attempted murder. This, Tanya, was just the beginning of my troubles. How else could I have ended up in this backwater? The so-called University of Duluth?”

Tanya pulls him back into bed. “Well if you hadn’t left New York, Professor, we would have never met.” 

“I suppose there are consolations to be had in even the bleakest of circumstances…”

Scene VI: Hell, Precisely

“Please follow me Professor Swift.”

Ludlow Swift is led by Samantha Xiuying along a glass enclosed walkway through the Omaha wing of TLS Biologics brand new Beijing Campus.

“Omaha Wing?”

“Yes, we’ve named each of the twenty segments of the campus after great international cities.”

“I see.”

Professor Swift stops at a window and looks out onto the sprawling grounds TLS Biologics. 

“I thought time was of the essence Professor Swift?”

“Yes, yes of course…” He pulls himself away from the window and follows her. 

After what seems like a disorienting twenty minute walk through gleaming maze-like hallways, past dozens of workers clad either in ‘clean suits’ or Western business-wear they arrive at a bank of elevators.

They step in together. Samantha removes a key, unlocks a panel and presses the glowing button for Sub-Basement level 4.

“Dr. Tsien has been relegated to the basement?”

“The Experimental Sector is a state of the art laboratory and is located for security purposes one hundred and fifty feet below ground”. 

“Security purposes?”

“The Biotech field is highly competitive. Industrial espionage is far more common than the layman imagines.”

The elevator jerks to a halt.

“We take every precaution imaginable.”

The doors open.

From behind a glass enclosure an armed security guard smiles at Samantha and presses a button. Electronic doors swing open. 

They walk down another hallway and Samantha stands before a wall mounted security cam and announces herself:
“It’s Sam and Professor Swift.”

There is a buzz as the door unlocks. The pair enters into darkness. They stop almost immediately, each raising a hand to their face.

“My god, what is that smell….It’s like rotting fruit or…”

A voice calls out from the shadows. “There seems to be a ventilation issue in my office.”
A desk light snaps on and Dr. Tsien is visible behind a large glass desk. He leans back in his leather chair, eyes covered by sunglasses, a white bandage beneath his right cheekbone.

As Professor Swift crosses the room to shake hands with Dr. Tsien he realizes he recognizes the smell. It is the pheromone of Cimex lectularius. He’s never encountered it in such overwhelming concentration. Tsien’s office must be completely infested. 

“Dr. Tsien I believe I have an idea about what it is that’s responsible for the smell…You may not want to hear this.”

“The smell is the least of my worries, Professor Swift. As you may have ascertained I’ve been injured…by one of the test subjects no less. I’ve tested myself for HIV, Hepatitis A, B and C and my results have come back negative. Yet I feel very…unwell…”

“Test subjects? It was my understanding that the trials weren’t scheduled to take place until…”

Dr. Tsien places his elbows on his desk. With his eyes covered by his dark glasses he appears as something of a cipher. “I have the most remarkable toothache, Professor Swift, I’ve never been in such pain. As to why to the trials began so soon…well let’s just say that I’ve been feeling a bit of pressure from those”, he points at the ceiling, “above me. They are very eager to see if your gene therapy is successful…Ms. Xiuying why don’t you escort the doctor to his accommodations. Hopefully the guest house will be to your liking…”

“Tsien, I want to see the test subjects. Immediately.”

“Well in that case Dr. Swift might I suggest”, he points at a cart filled with liquor bottles beneath a large flat screen TV, “you fix yourself a drink before we pay a visit to those unfortunate creatures.”

“Creatures?”

“I suggest a water-glass full of Reyka vodka and then perhaps a bar of Xanax while you’re at it. Let me see if I have any in my drawer.” He violently rummages through the contents of his desk drawer. 

Dr. Swift is outraged. He steps to Tsien’s desk and leans across it, index finger pointing at the preoccupied Doctor. “What in God’s name are you talking about, Tsien?”

Tsien looks past Dr. Swift. “Sam would you be so kind as to leave us alone?

“Yes Dr. Tsien.”

“In the parlance of our American colleagues; shit is so fucked up with the test-subjects, that your mind is about to be permanently blown. Trust me, Swift. Have a drink.”

“Take me to them at once, Tsien. If things are as ‘fucked up’ as you say, it will be the last time you see them. I’ll have you relieved of your duties at once.”

Tsien lights a cigarette and walks to the liquor cart. Swift can’t help but notice Tsien’s strange gait; his shoulders are hunched, arms almost touching the floor – and strangest of all – he moves in rapid bursts. First from the desk then to a six-foot tall Ficus tree then to the liquor cabinet. He pulls a bottle of Reyka from the cart and takes a long drink. “Let’s go, old chap.” 

He raises a hand to his jaw. Swift noticed his nails are incredibly long and yellowish.

“My jaw. My jaw. So much pain. It’s unbearable.” He let out a strange cry.

“Enough Tsien. Take me to the subjects.”

There is a door to the left of Tsien’s desk. The doctor removes a card from his pocket and runs it through the lock. A light above the doorknob flashes green. He holds the door for Swift. 

They walk through a lengthy white hallway, their heels clicking on the spotless tile floor.  At intervals of roughly one city block, security doors block their path. After they’ve passed through the third such checkpoint. They are confronted by a guard sitting behind a Plexiglas window. Like Tsien he wears sunglasses and both of his hands, along with the left side of his neck, are bandaged. The stench of Cimex lectularius pheromone is overwhelming. 

The doctor presses an intercom button and addressed the guard.

“Any new incidents Haolin? 

The man turns his head in the doctor’s direction looking as if he is about to speak into the intercom microphone but remains silent. His arm moves and the security door buzzes open.

“An interesting side note, Ludlow – may I call you Ludlow? I feel familiar terms are called for considering what you are about to witness. All the test subjects exist in a kind of erotic frenzy. Their only interests seem to be feeding, sleeping and….”, he grunted in what Swift assumed was laughter, “and fucking.”

They passed through another door and the modern, hi-tech atmosphere of TLS Biologics vanishes and they are in the bowels of a prison or medieval dungeon. It is dank and cold. A guard is visible across from an iron-barred cell. Purple light emanating from the interior of the cell bathes the guard. 

“Chenguang meet Dr. Ludlow Swift.”

A woman, or what once was a woman, lifts her head and a long – there can be no other word to describe it – fang protrudes from the center of her mouth. It’s a stylet, Swift realizes. She has taken on an ovular shape and fine dark hair covers her entire body. He notices with disgust she’s thrusting her hips – apparently in his direction.  

“She seems to fancy you Swift.” 

“She must be taken from here at once, Tsien. She needs treatment. Her suffering must be inconceivable…”

“Oh yes treatment. Definitely treatment.” He laughs – it is hopeless laughter. “We all need treatment…Perhaps a shotgun blast to the face. Something along those lines. But actually the guards and I – my brothers – we are going to take…” He was interrupted by the screams of a male voice coming from somewhere further down the hall. “We are going to do what’s necessary. Torch the entire underground wing of TLS Biologics…and martyr ourselves before our little friends escape and wreak the sort of havoc that the world has never seen. You will be the last non-infected scientist to witness the abomination that we – you and I – have created.” 

There is a popping noise, like the crack of a whip. Then another.

“Oh, dear. Xiang instruct Haolin to implement emergency lock down procedure. I think, alas, it’s time we initiate Operation Inferno.” 

Tsien walks down the hall toward the screams.

The woman, Chenguang, has torn off her restraints and is sitting up in her cell. As if by magic the restraints that hold her podomeres in place pop in unison. Then she stands or more likely crouches next to the bed. Swift, repulsed as he is, can’t help but feel a strong attraction to the woman; the fine hairs cover the still supple flesh of her body. Her breasts are large and the nipples erect. The stylet, dripping with saliva, holds a strange fascination. He could never have imagined in his wildest dreams such a thing… 

And then with amazing speed she is at the bars facing him and the stench of pheromones is so pronounced he places a handkerchief over his nose and mouth. Inexplicably, as if a voice has instructed him to do so, he takes it away. He inhales and feels strangely calm.

Tsien is once again at his side.

“The thing about our new hybrid creatures is that they retain Cimex lectularius’ ability to flatten themselves. They can fit through almost any opening…combine that with their almost eternal lifespans, their adaptability to any habitat, their ability to fight off every pathogen, their single-minded desire to feed and of course their surprising strength… Well, let’s just say that if they were unleashed upon the planet, such a creature would be impossible to stop.”

A vision, for which he’d waited his whole life, forms in Swift’s head: And wreak the sort of havoc that the world has never seen.

He would have to find a way to free Chenguang from the Experimental Sector. The first thing he must do, he understands, is kill Tsien…

Scene VII

Ian Martinez begins sleeping all day beneath his bed and then rising at midnight to wander the streets in search of something other than dope…

Scene VIII

As exsanguinated corpses appear on the streets of the Lower East Side, reports of strange, malformed men wearing dark glasses accosting young women on the streets in the early hours of the morning become a daily occurrence…

Scene IX

After his girlfriend disappears, Vann Maguire undertakes what can only be described as a war…


Bill Whitten is a rock musician, a writer and a reader. His latest album is Dédoublement. His first book BRUTES came out in 2022.

His second collection: I NEVER STOP ARRIVING is in need of a publisher. He is currently reading with great pleasure The Adventures and Misadventures of Maqroll by Alvaro Mutis.

Categories
Across The Wire

Interview with a Neighbor

Jason Sebastion Russo interviews Bill Whitten.

JSR: I had a first draft of questions for you about our mutual friend OD’ing in your band’s hotel room one long ago evening at SXSW, but I felt it was too salacious, even though it ends with me walking past the hotel gym at dawn and seeing you lifting weights in a black t-shirt and pair of jeans. I was still wet from having given our friend (no Narcan in those days) an ice-cold shower. I also had a couple of false starts about seeing you play guitar with Shady at the Knitting Factory (where we were pointed out to each other but not introduced, and you told Grasshopper I looked like a “young Kerouac” much to my great pride). I also wrote the story of Grand Mal playing at the Rhinecliff Hotel—which ended with you rolling around that filthy all-ages room without a shirt, and passing out at my and the late John DeVries’ couch in Poughkeepsie. But these questions were all starting to head into Hubert Selby territory; debauchery, treachery, substance abuse etc. etc. Should we pursue such a line of discussion?

BW: I feel somewhat queasy directly discussing (without the screens of fiction or abstraction) tales of past depravity. It’s probably best to take the Wittgensteinian approach: What we cannot speak about, we must pass over in silence.

JSR: Fair enough. Ludwig missed his calling, imho. What is a central metaphor in your life? I’m obsessed with the image of a plant slowly growing toward a window, for example. 

BW: Waking up drunk in an enormous, empty, windowless, dark, locked room in a stranger’s house. After a period of time (hours? days? who knows?) finally escaping. Penniless, walking for miles trying to find to my way home, vowing to change my ways, to begin again…

`

JSR: Word, or amen, to that. Do you have a common, almost trite, saying that you’ve thought to yourself most of your life? For example, I have been saying, “live by the sword, die by the sword” to myself my entire life. And/or, “garbage in, garbage, out.” Direct quotes from my father’s childhood in the Bronx. You? 

BW: Again and again, the words of Divine come into my brain: Kill everyone, kill everyone right now

JSR: An enduring, undeniable platform. We both lived in the same Brooklyn building for years, yet I was surprised that as soon as you left NYC, you immediately started writing and singing about exile. I get it now that I spend 80% of my time in central New York. I assume the shift in locale impacted your creative life. Can you describe how?

BW: Being something of a pessimist, I expected, from the moment of my arrival in New York (America’s insane asylum) in 1990, delivered from a Peter Pan bus into its cold, dingy glitter and trash-strewn streets and neighborhoods, that my stay would be short-lived. Back then (maybe now?), it was a city of fugitives, of pilgrims – men and women like me – on the run from their families, from themselves, from their origins. I navigated it according to maps I’d brought with me, drawn by its victims and castoffs. I was fascinated with both the strange, vacant-faced men crouched in dark doorways and the glamorous youth who arrived en masse from every corner of the world to take part in the vast, industrial form of human sacrifice known as the ‘arts scene’.

I have notes from the first party I ever went to in the City:

How to pay attention to her words when the muscles jumping in her jaw, the blue veins pulsing beneath her eyes were all clearly visible beneath her starveling’s translucent skin. She ran her hands through her hair, touched her nose, her ears. “I’ve become (mumble) fixated on the (mumble) fact that a kind of apocalyptic menace follows me around (mumble), the City is on the verge of destruction, I can feel it.”

I moved constantly from neighborhood to neighborhood, borough to borough, always in search of a cheap apartment. Whenever I found one, there would be constant rumors among the tenants about imminent eviction, about the landlord’s desire to sell the building to speculators. Expulsion from NYC was always inevitable.

In 2018, as I stood on the stoop of my apartment in Brooklyn for the last time, I wondered what real difference would there be between NYC and a city in the Midwest. No matter where you go everyone is glued to their phones (an apparatus designed to enslave it users). The restaurants serve the same food, the same coffee. The men have the same haircuts. True, the people are more beautiful in NYC… but the world has been flattened and everyone on it made the same.

In any case, my only plausible claim to exile is from the bookstores of NYC (currently as close to extinction as the Yangtze Finless Porpoise); my true homeland. How great it was going from bookstore to bookstore like a pub-crawl and discovering Roberto Calasso, Jacques Ellul, Bruce Chatwin, Mavis Gallant etc etc. Of course, there are a handful of bookstores where I live now but none pass my personal test (a pretty low standard) of what makes a halfway decent bookshop – i.e. it must carry titles by Marguerite Duras and Giorgio Agamben…

Finally, circling back to your question, leaving NYC has had no impact on my creative life. I continue to pursue a bad idea (a life devoted to making art) stubbornly and against all reason.

JSR: What percentage of the world is evil?

BW: An ever-growing percentage. But, I believe in apocatastasis i.e. universal salvation, which means that when we die we all go to heaven. So evil is of less importance if we all will spend eternity in paradise.

JSR: Can people change?

BW: People’s actions can change, which is all that matters.

JSR: Well said. What percent of your personality can you choose?

BW: The easy way out is to proclaim that humans are purely determined by exterior forces i.e. people are social constructions, and their personalities are fungible. But if you’ve ever witnessed the birth of a child, you know that they come equipped with an already existing personality or what people used to call a “soul”. So the correct answer is zero.

JSR: I helped you move out. You were the only friend that showed up to move me into my first NYC apartment. We were an excellent moving team, in fact, and did a ton of moving gigs together; always glad to combine working out with making rent. Why pay for a gym when you can get paid to be a mover? Bonus: being a furniture mover is one of the best ways to get to know the five boroughs of NYC.

I spent a lot of time on your stoop before it became my stoop too. Before I finagled my way into the top-floor apartment of our building—no small task—thanks in part to you and Parker Kindred (one of the best drummers alive, who’s played with everyone from Lou Reed to Jeff Buckley to Cass McCombs etc). Something Parker probably regretted when I added to the guitar overdubbing, kick drum sampling, bass rehearsals competing in the hallway, the first time I dropped an amplified bass guitar on my floor/his ceiling. Ours was the kind of building that a body dropping past the window would have been noteworthy but not that shocking.

Our stoop was one of those easy-to-mythologize places like a Sesame Street set or Scorsese b-roll. During that very specific era of Brooklyn, at the decline of its vitality, in the heart of doomed Williamsburg. Thanks to our sweet landlady’s charity, we got a front seat to Rome’s burning. (“How will they be able to afford milk?” was how she explained keeping her tenant’s rent at one-third neighborhood’s market value.) We stocked the building with bandmates and friends, all of us touring and recording as the music industry turned to dust beneath us. Thank God you guys got me in. I was indeed running from the Minotaur, having just been evicted from my tiny basement apartment around the corner, in a building sold to developers by the owner’s son. Developers that turned it into a condo overnight. I was only homeless for a month before you and Parker convinced our landlady that I was good people… you threw a rope and hauled me up to safety.

I think some of my favorite stoop moments were your and Ken Griffin’s (Rollerskate Skinny, Favourite Sons, August Wells) endless debates. We’d gather around like Athenians and discuss books, film, music, television, romance, drugs, religion, politics, metaphysics. Everyone in our building was or had been in a band that I’d been a fan of prior, and it was nice to be amongst musicians that didn’t only want to talk about guitar pedals. So, here is my question: did our tight-knit cadre of NYC friends/reprobates impact your creative life in any way? Other than the obvious fact that you were constantly luring us to your living room to track vocals or guitars.

BW: More than one woman commented that our building resembled a barracks, or a halfway house for aging rock musicians or some kind of disreputable all-male commune. Of course, for me, my fellow ‘inmates’ were an enormous influence. Yes, I did get everyone (including yourself) in the building to play and sing on my albums Clandestine Songs and Burn My Letters. Collaborating with friends is an incredibly intimate, somewhat risky venture that requires trust and generosity. As the lockdown taught the world, interacting regularly with friends is indispensable and beneficial to the body and soul. I learned a lot from everyone and miss them all. Not a day goes by that I don’t wish I could sit down and have a cup of coffee with one of you guys. It goes without saying that texting and emailing and zooming are not in any way commensurate with in-person interaction.

JSR: Why do you get out of bed in the morning?

BW: To drink coffee, read, write, plot. 

JSR: Is everything singular or plural?

BW: To believe everything is singular, you’d have to be a Spinozaist (a Pantheist) and believe God was/is everything; trees, dirt, air etc. Against this idea of a monad as the totality of all things, there is the transcendent, for example, Christ (a being not part of our material world) exploding out of eternity, desacralizing the world, ending animism. I prefer the latter to the former. Lately I’ve been thinking that interdimensional Ufo’s rising out of the ocean/descending from the stars and acting as divine intercessors to prevent nuclear war…could fulfill a similar function. 

JSR: Would you choose to live again without knowing you were given a choice, if you had the choice? 

BW: Yes. The prime directive of every living creature is to persist by any means necessary. 

JSR: Is belief in God a choice?

BW: Not when someone is pointing a gun at you or punching you in the head or you’re suspended in that prolonged interval of time called a car crash. In those situations, appeals to god come forth unbidden from one’s lips. You realize (and then if you survive, forget) you’ve always been a believer.

JSR: Which percentage of utility have you lost from the internet

BW: In 2023, everyone is brain-damaged. Paul Virilio was often attacked for being too pessimistic or even reactionary when he detailed, way back in the ‘90s and early ‘oughts, all the damage that technology – by marooning in us in an eternal present – had rendered upon our senses. In America, 54% of the population now reads below the 6th-grade level. We can’t see, think, remember, move, write, or talk as we once did. And we’re all under 24/7 surveillance.

JSR: Is it safe to say music was your primary pursuit at the beginning of your creative life? Why or how did it surpass writing? And where is that balance now? Do you feel the same amount of excitement about both? Does one eclipse the other?

BW: I wrote when I was a kid and hid my stories in my underwear drawer. But writing was always unsatisfying and deeply shameful. I didn’t really want anyone to know my thoughts. I picked up a guitar pretty late, around age 23 or 24, driven to provide accompaniment to the songs that were (are) banging around in my head. Kandinsky described the compulsion to create an ‘inner necessity’, which sounds right to me. Whether I write or play music on any given day is dictated by the fact that I live in a small house with my family. Making music is noisy and disruptive, while typing into a 2008 Macbook is not. In some ways, these activities seem pretty much the same to me – they involve the constant erasure of bad ideas.

JSR: Can you describe the very early years when you were forming St. Johnny, and you were roommates with Dave Baker and bandmates withHartford Grasshopper? The stories I’ve heard remind me of living with John Devries in Poughkeepsie, where I apprenticed under Agitpop and Cellophane, incubated Hopewell, and got involved with Mercury Rev., which is to say, total chaos. What pushed you forward? How did you escape the chaos and make it to the big city? Music?

BW: Growing up, the key idea I learned from books, magazines, film was that all the best musicians and writers were insane, and they lived as outcasts on the margins of society. When I developed an ambition to be a rock musician, the first thing I did was try to become like the people I’d read about. As if a curse had been placed on me, I took Johnny Thunders as my role model. Naturally, I tried to find others who had similar interests. I moved to the nearest city – Hartford. I put an ad in a local ‘arts’ newspaper – “William Burroughs-style bassist wanted”. Grasshopper answered. He was working as a court reporter in Hartford and divided his time between there and Upstate New York, where he and the other members of Mercury Rev were working on Yerself is Steam. He played bass for a while in a nascent version of St. Johnny before disappearing (I learned of his departure from the note he left under the windshield wipers of my Chevy Nova) to go on tour with the Flaming Lips as their ‘lighting and explosives’ technician. Unlike myself, he was a college graduate and had a greater knowledge of music, film, and literature than I did, and his influence on me was not trivial. He eventually moved to NYC, I followed not long after, eventually landing in an apartment in Carroll Gardens with his bandmate Dave Baker. In those days (early 1990s), I was a terrible roommate. Evidence of this can be found written on the inside back cover of one of the books (Artaud’s Theatre of Cruelty) I purchased around that time: 1) A man can never really know a woman, he can only pursue her indefinitely. 2) My musical instruments are razorblades that leave wounds on my body. 3) These wounds are the aesthetic models for my music. 4) My music is filled with hidden holes. 5) Things left out (the holes) are as important as what remains.

Bolano wrote in Savage Detectives: We were spectral figures, on whom you wouldn’t dwell at length without turning away. It is a nice description of my friends and I at that time…

JSR: That reminds me. I found your copy of Bolano’s Distant Star when I moved, I swore to return it, and one day I will. Glad you mention those holes; that’s a good way to describe a distinction I loosely subscribe to, that there are two kinds of creative people: negators and cheerleaders. Both are generative, though negators rely more on preventing or removing what doesn’t work. Discernment is central to the process. I’m married to an incredible negator that makes a fine film editor as a result, and I usually partner up with them creatively when I partner up at all. I require them to sift through the sheer amount of crap that I, a cheerleader, am always swept up in. I used to outsource a lot of my discernment to you, arriving in your kitchen stoked on a dozen ideas about all manner of everything, and you’d weigh in, reliably. It’s the case with many negators that they would never make or release anything if they didn’t work with a cheerleader. So, both sides of the coin have their merits. My creative relationship with Justin (younger brother and frontperson to the very amazing Silent League) is emblematic of my theory. He kept me in check, and I made sure he released things and had content to play with. I’m using some hyperbole here to make a point because of course he generates content on his own, and I am able to cut things. It’s more of an orientation than a hard and fast rule. Would you say your aesthetic sensibility relies on discernment?

BW: I’ve never been smart enough to have an aesthetic. My goal is usually: try to create something that does not make me ashamed or want to blow my brains out after playback or re-reading. 

JSR: Has having a family changed or cemented your worldview? 

BW: Christopher Lasch once said: a parent looks at the world and all its events in the darkest possible light. Deep pessimism and rage are feelings I experience every day. I’ve never known a more sinister time than the time we live in now.

JSR: Another important marker, I think, is when I started hearing barroom piano bounce off the wall of the building behind ours. Instead of electric guitars. It provided a soundtrack to the building’s bathrooms, all situated in the back of our apartments. You serenaded us all. Happily, you bequeathed that creaky old thing to Chuck Davis and me, and I’m staring at it while I type this. It’s the sound of your William Carlos Whitten records, some of the finest rock music ever made, in my opinion, ragged, dignified, and mastered to perfection by our old pal Dave Fridmann. A perfect third act to your musical legacy.

BW: In 2008, someone from Our Lady of Mt. Carmel on N.8th Street left a perfectly good upright piano on the curb. Incredibly, our mutual friends Kenneth Zoran Curwood and Adam Marnie put it on a pair of skateboards and wheeled it four blocks to my apartment. Luckily I lived on the first floor. I’m an autodidact in all things and thus completely self-taught when it comes to the piano, and naturally, play it all wrong like an aphasic chimpanzee. To me, my piano is the black monolith at the beginning of 2001: A Space Odyssey. When someone who can actually play a piano comes over to my house and unleashes all the magic stored within it – it’s always leaves me stunned, amazed. As a side note, I’ve always had ambivalent relationships with musical instruments. My piano has never been tuned, I’ve only ever owned cheap, barely functional guitars. All my gear – recording devices, pre-amps, guitar amps, and effects, the computer I’m writing on now – are usually half broken and on their last legs. 

JSR: You and I subscribe to the same school when it comes to gear. My guitar tone depends on what pedals are discarded or forgotten by other players in the rehearsal space. The people that can afford really nice guitars are generally not the people who create music. But beyond all that, crappy gear is a form of limitation. Of boundaries. Which, as I get older, I realize is one of the most important aspects of the creative process.

I remember being handed a leaflet or missalette at a St. Johnny show- maybe at the Mercury Lounge or the old Knitting Factory- that was kind of a zine of your writing, which read like William Burroughs in my memory. Did they pre-date the band? Had you always been writing them? Care to describe what you were writing back then?

BW: I don’t remember, lol, and I regret the enormous influence William Burroughs (a pedophile and murderer) had on my life. I should have been reading Proust or Leopardi! The Beat Generation was a psyop! What a waste! Haha!

JSR: The Beat Generation is basically a dorm room poster at this point. Speaking of psyops…do you think the post-Nirvana-1990s indie rock explosion, which we were both part of, was a psyop? 

BW: If it was a psyop, what would the goal have been? To transform (in tandem with other cultural engineering projects) the population of the West into solipsistic, nihilistic, porn-addicted drug-takers, incapable of reading a book or watching a film in its entirety, compelled to stare helplessly at electronic devices 20 hours a day while fulfilling their role as the world’s consumer of last resort? Is there a clear trajectory from Kurt Cobain to the Strokes to Occupy Wall Street…and then…to Bernie Sanders and AOC advocating for vax mandates and nuclear war with Russia? Was/is Williamsburg, Brooklyn a CIA outpost, a Bermuda Triangle of transhumanist-mind-control-pseudo-left-lifestyle politics?

¯\_(ツ)_/¯…

Bill Whitten has written a book called BRUTES and recorded many albums.

Jason Sebastian Russo is a rock musician and a writer.