Part II of “Falling into Place,” an exploration of Ah Pook is Here, the word-image collaboration between artist Malcolm Mc Neill and author William S. Burroughs has now been published over at the Believer Logger. Ah Pook is Here, whose brilliance has only recently been introduced to the public imagination thanks to Fantagraphics Books, is long-form graphic narrative that was created long before the concept of the “graphic novel” was in widespread use.
Observed While Falling: Bill Burroughs, Ah Pook, and Me is author Malcolm Mc Neill’s memoir of his time working on Ah Pook is Here. It describes how the project irrevocably transformed his life.
Here’s the description of Observed While Falling from the Fantagraphics Books website:
Observed While Falling is an account of the personal and creative interaction that defined the collaboration between the writer William S. Burroughs and the artist Malcolm Mc Neill on the graphic novel Ah Pook Is Here. The memoir chronicles the events that surrounded it, the reasons it was abandoned and the unusual circumstances that brought it back to life. Mc Neill describes his growing friendship with Burroughs and how their personal relationship affected their creative partnership. The book is written with insight and humor, and is liberally sprinkled with the kind of outré anecdotes one would expect working with a writer as original and eccentric as Burroughs. It confirms Burroughs’ and Mc Neill’s prescience, the place of Ah Pook in relation to the contemporary graphic novel, and its anticipation of the events surrounding 2012. The book offers new insights into Burroughs’ working methods as well as how the two explored the possibilities of words and images working together to form the ambitious literary hybrid that they didn’t know, at the time, was a harbinger of the 21st century “graphic novel.” Mc Neill expounds on the lessons of that experience to bring Ah Pook into present time. In light of current events, Ah Pook is unquestionably Here now.
Observed While Falling presents a unique view of the creative process that will be of interest to artists, writers and general readers alike. A perspective evoked by a literary experiment that has endured for forty years and still continues to “happen.”
Here is the Fantagraphics Books description of Mc Neill’s complementary volume of artwork from Ah Pook is Here, published as The Lost Art of Ah Pook is Here: Images from the Graphic Novel:
In 1970, William S. Burroughs and artist Malcolm Mc Neill began a small collaborative project on a comic entitled The Unspeakable Mr. Hart, which appeared in the first four issues of Cyclops, England’s first comics magazine for an adult readership. Soon after, Burroughs and Mc Neill agreed to collaborate on a book-length meditation on time, power, control, and corruption that evoked the Mayan codices and specifically, the Mayan god of death, Ah Pook. Ah Pook Is Here was to include their character Mr. Hart, but stray from the conventional comics form to explore different juxtapositions of images and words.
Ah Pook was never finished in its intended form. In a 1979 prose collection that included only the words from the collaboration, Ah Pook is Here and Other Texts (Calder, 1979), Burroughs explains in the preface that they envisioned the work to be “one that falls into neither the category of the conventional illustrated book nor that of a comix publication.” Rather, the work was to include “about a hundred pages of artwork with text (thirty in full-color) and about fifty pages of text alone.” The book was conceived as a single painting in which text and images were combined in whatever form seemed appropriate to the narrative. It was conceived as 120 continuous pages that would “fold out.” Such a book was, at the time, unprecedented, and no publisher was willing to take a chance and publish a “graphic novel.”
However, Malcolm Mc Neill created nearly a hundred paintings, illustrations, and sketches for the book, and these, finally, are seeing the light of day in The Lost Art of Ah Pook. (Burroughs’ text will not be included.) Mc Neill himself is an exemplary craftsman and visionary painter whose images have languished for over 30 years, unseen. Even in a context divorced from the words, they represent a stunning precursor to the graphic novel form to come.
Sara J. Van Ness contributes an historical essay chronicling the long history of Burroughs’ and Mc Neill’s work together, including its incomplete publishing history with Rolling Stone’s Straight Arrow Press, the excerpt that ran in Rush magazine, and the text that was published without pictures.
Sample excerpts from each book provided by Fantagraphics can be found below: