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Джоан Воллмер цитаты

Джоа́н Во́ллмер А́дамс Бе́рроуз — вторая жена одного из крупнейших авторов «разбитого поколения» Уильяма Берроуза и мать их общего сына Билли, представителя «второго поколения» битников. По причине отсутствия развёрнутых упоминаний о Джоан в творчестве Берроуза, скромности описаний её жизни в работах исследователей бит-поколения и малого количества сохранившейся корреспонденции Воллмер единственная на сегодняшний день крупная работа о ней была представлена только в 2002 году за авторством Д. Грауэрхольца.

Наибольшую известность Д. Воллмер получила в качестве «музы» внутреннего круга бит-авторов, сформировавшегося из студентов Колумбийского университета в ходе многочисленных квартирных вечеринок у Воллмер и её соседки Э. Паркер, будущей жены Джека Керуака. Основное влияние Воллмер, трагически погибшей от руки своего мужа, выразилось в творчестве Берроуза, отводившего Джоан роль «катализатора» и, без преувеличения, первопричины всей своей писательской деятельности в целом. В 2000 году американским режиссёром Гэри Волковым был снят посвящённый У. Берроузу фильм, в котором, среди прочих тем, были рассмотрены его непростые отношения с женой и вопрос её влияния на зарождающееся литературное поколение. Wikipedia  

✵ 4. Февраль 1923 – 6. Сентябрь 1951
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Джоан Воллмер: Цитаты на английском языке

“You should always cook eggs slowly" was Joan's advice in the kitchen on 118th Street. Joan did everything slowly, Edie reflected; she spoke, walked, dressed and read slowly, as if savoring every moment. She read everything, every newspaper and magazine. She liked the cartoons of William Steig in The New Yorker, particularly the one of the dejected fellow saying, "My mother loved me but she died." Joan didn't get along with her mother, and felt that she had nothing in common with her parents' country-club existence. She had rebelled against her background by living the New York City bohemian life.”

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Joan Vollmer

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“Joan's beauty was more than the sum of its parts. She was soft and feminine, and wore silky clinging clothes and small bandannas tied close to her head. In her reserve, in her achievement of a personal style, she reminded Edie of Garbo.”

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Joan Vollmer

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“kummel and have deep conversations about Plato and Kant while listening to classical music. Or she would spend the entire morning in the bathtub, with bubble-bath up to her chin, reading Proust. If you wanted to talk to her you had to do it in the bathroom.”

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Joan Vollmer

Joan's idea of a good time was to go to Child's at 110th Street and Broadway and sip
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“I can never forget how June's present husband, Harry Evans, suddenly came clomping down the hall of her apartment in his Army boots, fresh from the German front, around September 1945, and he was appalled to see us, six fullgrown people, all high on Benny sprawled and sitting and cat-legged on that vast double-doublebed of 'skepticism' and 'decadence', discussing the nothingness of values, pale-faced, weak bodies, Gad the poor guy said: 'This is what I fought for?”

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Joan Vollmer

His wife told him to come down from his 'character heights' or some such.
In Jack Kerouac's last work (The Vanity of Duluoz), he describes the scene in the 119th street apartment as "a year of low, evil decadence", beginning near the close of 1944:
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“…and worst of all, on June's huge doublebed with the Oriental drapecover on it we had ample room for sometimes six of us to sprawl with coffee cups and ashtrays and discuss the decadence of the 'bourgeoisie' for days on end.”

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Joan Vollmer

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“Edie thought Joan was the most intelligent girl she had ever met. She had an independent mind, always questioning what anyone said, including her teachers at Barnard. In one of her marginal notes in her copy of Marx's Capital and Other Writings, there are echoes of Burroughs's thinking: "Maybe Marxism is dynamic and optimistic, and Freudianism is not. Is one more serviceable than the other? Why does it always have to be either/or?”

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Joan Vollmer

Ted Morgan, Literary Outlaw, discusses Edie Parker's impression of Joan Vollmer:
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