Most Helpful Customer Reviews
14 of 18 people found the following review helpful:
5.0 out of 5 stars
The Process of Making Things Happen., July 9, 2001
Wherein of antres vast and deserts idle, Rough quarries, rocks and hills whose heads touch heaven, It was my hint to speak, such was the process... -Shakespeare. This quote (partial) above is by way of Gysin's introduction to THE PROCESS---like all Gysin's works, greatly underrated, unacknowledged, and ignored, perhaps because of their metaphysical Occult ("hidden and rejected knowledge") origins periously perched as they are on the edge of an exquisitely unique literary absurdity difficult to comprehend without submitting to detailed, in-depth investigation. In other words, he deceptively appears an only half-sincere, sarcastic author writing pulp aimed at comic entertainment alone, when in fact his works (entire) upon further investigation reveal profound esoteric depths much like a Franz Kafka or Philip K. Dick. For a long while I have hoped for what will really be a first time proper evaluation of his masterful works; I can think of no author more deserving of a much-needed critical biography, and probably many will soon be produced. Of the brilliant novel THE PROCESS: The protagonist is Gysin himself, who appears in different colored skin due to the fact Brion suffered from what he called: "bad packaging!" It takes a lifetime to cross the desert and a childhood to do so at its narrowest point, explains one of the many mystical charcaters inhabiting the novel, whose names, like the lady "MAYA" ( literally sanskrit for "illusion") oftentimes reveal their signifigance. Gysin knew the sahara well, spending a good deal of his life in it, centered around expatriate Tangiers, where he owned and operated a resturant well reputed called "The 1001 Nights". The house musicians were none other than THE MASTER MUSICIANS OF JAJOUKA, whom Brion discovered in the "land of the little people" tucked far into the hills, and whom WSB called a "2000year old rock-n-roll band!" The 1001 Nights closed down directly due, Gysin feels (with firm evidence/proof) of Black Magic of a typically North African cursive. Celebrated in THE PROCESS in a masterful narrative sequence is the yearly Ritual celebration involving the Great God Pan in the form of a man placed inside the actual skin of a recently sacraficed goat, who chases the Moroccan women about in a rite dating back to antiquity recalling the bacchanalia and Dionysian Rites and all Pagan fertility rites, still practised yearly with great festivity in Morocco. The novel is, as WSB said of his own work, and's wholly applicable also to Gysin's ( whose influence and sway over WSB is immense, as WSB enthusiastically acknowledges)one where: "EVERY LINE IS AUTOBIOGRAPHICAL FACT AND EVERY LINE IS BULLS**T!" "WRITING IS SUCCESSFUL WHEN IT MAKES THINGS HAPPEN!"---According to both Brion Gysin and William Seward Burroughs, this is the The supreme definition of "successful writing" as well as of "Magick". THE PROCESS, Brion Gysin's novel published first in 1969 was long involved in the "great work" of "writing itself"; for according to Gysin it's: A NOVEL IN THE PROCESS OF WRITING AND READING ITSELF! To a miraculous degree this cannot be properly communicated except by reading the novel yourself, which most of its readers agree they have done so several times; WSBurroughs rightly states besides being an esoteric masterpiece it is also "first-class entertainment", and like all Gysin's completely original works is absolutely hilarious! Noone, and I mean noone writes like he does, nor paints---for he was an early practitioner of surrealist techniques developed by Max Ernst, and Gysin exhibited his works with the surrealists, but was kicked out by Breton at his first exhibition, no doubt due more to his eccentric personality than to his artistic stylizations...he would go on to establish his own unique painterly style consisting of calligraphical overlain symbols resembling magical sigils and Chinese characters placed in grids reminiscent of the likewise magical origins found in the "Sacred Magic of Abra-Melin The Mage" which so influenced other Artists and Mages like Crowley and Mathers and Pessoa. And Like his painting, Gysin's literary origins likewise have their genesis and inspiration in Occultism, so permeating Gysin's life as to be essential in any contemplation aimed at an understanding of his works and life. His experiments and investigations are now legendary, especially those taken place at the Beat Hotel in Paris circa 1960 with Burroughs, Norse, Corso, sommerville, and a host of others where Gysin Established a quite scientific system for all literary history to applaude as the "Cut-Up technique", coined by WSBurroughs. Brion Gysin will show you how THE PROCESS works, in the very process of "MAKING IT HAPPEN"! Such a magical feat before your very eyes without recourse to simply deeming such astounding miracles an "illusion" will if nothing else boggle your mind a good long while, and make you question the very fabric of the absolutely magical universe we live in. For the literary thrill-seeker as much as the mystically-minded, for the occult practitioner as for the philosophical scholar, THE PROCESS is one that is already a classic, and Gysin's works I feel are destined to outlive many other more famous works of its time; their endurance is miraculous in itself and they are essentially timeless. Aleister Crowley was correct in delineating a classic as defined by its ability to adapt and survive, and is in a sense: "a living being". THE PROCESS shows how such phenonema operate, as well as how it can also be, as everything is, Manipulated---whether to the writer's or the occultist's advantage; and regardless whether such things are called "Black Magick" or "Literature" is besides the point. Gysin often makes his point with a joke at humanity's expense, and it should be borne in mind that he is a great misanthrope; and as for his reputed misongyny goes, he truly believed women were a biological mistake---the irony is that a good many of his closest friend were women! Brion Gysin is an enigma representative of NO race, religion, color, or creed. He truly is one of the Originals of the human species!
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
3 of 3 people found the following review helpful:
5.0 out of 5 stars
"The only man I ever respected...", July 28, 2009
+ That's what William S. Burroughs called Brion Gysin, and that's high-praise indeed from L'Hombre Invisible. Known primarily--if known at all--as a graphic artist, Gysin, in *The Process,* proves himself to be one heck of a talented writer, as well. + *The Process* is a rambling, breezy, keef-laced, picaresque tale ostensibly centered on a black professor self-exiled in the Middle East where he seeks...well, exactly what he seeks isn't exactly clear. Truth, power, wealth, immortality, the ancient mysteries, the meaning of life--a continuing source of the best dope...or perhaps all of the above. + Hanson isn't exactly sure what he seeks, but he senses it is to be found in the great Sahara desert, where the spirit of Ghoul devours everything. A cast of characters, each more eccentric than the last, are searching the desert, too, and as their paths cross and re-cross, the *The Process* takes on the tangled complexity of a hairball. + That seems to suit Gysin's purposes just fine and if a reader isn't looking for easy answers or a story with nicely dovetailing subplots and no loose ends, it'll suit him, too. Gysin is a seemingly limitless generator of ideas, and so is his novel. There is something of the "shaggy dog story" about the *The Process,* or, perhaps, under the circumstances, it would be more appropriate to call it a 1001 Arabian Nights sensibility. The story goes on for the sake of its telling, because to keep talking is to keep entertaining; to keep communicating is to keep teaching; it is to keep trying to say what is perhaps ultimately unspeakable. The story, like life, continues because what is the alternative? + Gysin had an enormous influence on William S. Burroughs and many of Burroughs preoccupations can be seen in this novel. No doubt the two men cross-fertilized each other's imagination, but it is Gysin who Burroughs credits with the cut-up technique, the experiments with tape recorders, the idea that writing should be more like painting. Gysin was an artist's artist--better known an influence on other artists than he was for his own art. That's a shame and may, in part, be due to the fact that he spread his considerable talent over a wide-range of pursuits. + As a result, this novel, is not nearly as appreciated as it deserves to be. While written in the 60s, *The Process* hardly seems dated at all; in fact, some forty years after it's initial publication it's focus on the Arab world and the visionary aspects of Middle Eastern life seems more prescient and more relevant than ever. + Wry, philosophical, macabre, raunchy, surreal, madcap, and a lot of other things besides, *The Process* is a wild and unhinged piece of storytelling that can make you laugh, make you think, and make you turn pages. It's a wonderful, thought-provoking ride with many points of interest--to nowhere in particular.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
7 of 10 people found the following review helpful:
4.0 out of 5 stars
The Process, February 27, 2000
This review is from: The Process (Hardcover)
An interesting book that uses wide horizons. Gysin filled it with allusion, hints and tricks. It's words seem to be carefully placed. It was designed, apparently, to read the reader. It might be more than a novel or it might not. The Process is stylish, clever and possibly very important. I felt that the haze created was frustrating and entertaining, I wanted more details.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
|
|
Most Recent Customer Reviews
|
