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By D. G. Peter Lang

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Example text

And even more, what would he have said to me? Looking back, it is almost with a measure of relief— not that he was dead but that he was inaccessible— that there was no person to interfere with the idea of him I had built out of his books. Here, we see the conundrum of the reader, the way the intimacy of words, of language, can’t help but butt up against the unbridgability of personality or time. Over the years, I’ve met many of the writers whose work helped to transform me: Vonnegut, Roth, Heller, Allen Ginsberg, William S.

Like all of us, he was never able to bypass the noise completely; he had to eat and sleep and pay his bills, to exist in three dimensions in the world. “Life is, in large part, rubbish,” David Shields writes in his book Reality Hunger, by way of suggesting how quickly an existence “consecrated to art” wears thin. For Trocchi, this meant the rare book business, which is where I almost came faceto-face with him. I recall standing in the antiquarian market, surrounded by coin and jewelry dealers, asking the middle-aged book dealer if he knew Trocchi’s work.

L. Doctorow once said of the peculiar isolated intimacy of the enterprise, and that, I think, is it precisely: the tension, the balance, the sense of being somehow within the world and at the same time without it, the push-and-pull between writer and reader, the unlikely process by which literature works. It’s been years since I came to books in such a way, seeking out the physical associations, trying to frame them in both time and space. And yet, the Upper East Side; North Platte, Nebraska; the beach at Dollarton; even, in some sense, Trocchi’s London bookstall—all exist for me in parallel locations, as landscapes in the world and on the page.

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