Is it something in the November air? Doubtful. Maybe it's the god of artistic collaborations wanting to set the record straight. Let's say it's strictly dumb coincidence.
Whatever the reason, this month provides a happy occasion for legions of Jack Kerouac fans, to say nothing of William S. Burroughs cultists, who always seem eager for new revelations about both writers' works and personalities. And if nothing else, it will add several strong threads to their already embroidered legends.First came And the Hippos Were Boiled in Their Tanks, which has just arrived in bookstores only 64 years after William Burroughs and Jack Kerouac wrote it. (Jed Birmingham has a fascinating review here.)
Now comes the lost art of Ah POOK IS HERE, opening Friday (Nov. 14) at the Salomon Arts Gallery in downtown Manhattan. It features Malcolm Mc Neill's collaboration with Burroughs a mere 38 years after the two of them teamed up for a word/image novel that they tried — and, sadly, failed — to get published.
Well, better late than never.Mc Neill's "ah pook" artwork includes all sorts of fantastic sketches, drawings, and cartoons. Fantastic in the true meaning of the word. One vivid panorama is so large — "End of Days," measuring 25 feet x 24 inches — that the gallery display will have to be monumental.
"I accepted him at face value," he notes, and Burroughs turned out to be "one of the sincerest, most unassuming normal people I'd ever met."
Apart from the age disparity and the unprecedented nature of his writing, he embodied an extreme persona for which I had no frame of reference at all: an avowed homosexual heroin addict, who'd shot and killed his wife, then essentially abandoned their only child. [This was] a scenario in which none of the elements were familiar, much less made sense. The need to try and make them so, however, was irresistible.
After starting out doing cartoons in the underground press, Mc Neill went on to a mainstream career as a high-tech artist/illustrator. His work has appeared in publications ranging from The New York Times and Rolling Stone to National Lampoon and Marvel Comics. Eventually he got into television as a "live action / effects director," winning an Emmy, in 1984, for "Outstanding Graphics and Title Design" of the opening credits sequence for "Saturday Night Live." Now that is weird.