William S. Burroughs

A man, dispirited by ageing, endeavours to steal a younger man’s face; a doctor yearns for a virus that might eliminate his discomfort by turning everyone else into doubles of himself; a Colonel lays out the precepts of the life of DE (Do Easy); conspirators posthumously succeed in blowing up a train full of nerve gas; a mandrill known as the Purple Better One runs for the presidency with brutal results; and the world drifts towards apocalypses of violence, climate and plague. The hallucinatory landscape of William Burroughs’ compellingly bizarre, fragmented novel is constantly shifting, something sinister always just beneath the surface.

My Education is Burroughs's last novel, first published two years before his death in 1997. It is a book of dreams, collected over several decades and as close to a memoir as we will see. The dreams cover themes from the mundane and ordinary - conversations with his friends Allen Ginsberg or Ian Sommerville, feeding his cats, procuring drugs or sex - to the erotic, bizarre and visionary. Always a rich source of imagery in Burroughs's own fiction, in this book dreams become a direct and powerful force in themselves.

<h3>Amazon.com Review</h3><p>"He was," as <em>Salon</em>'s Gary Kamyia notes, "20th-century drug culture's Poe, its Artaud, its Baudelaire. He was the prophet of the literature of pure experience, a phenomenologist of dread.... Burroughs had the scary genius to turn the junk wasteland into a parallel universe, one as thoroughly and obsessively rendered as Blake's." </p><p>Why has this homosexual ex-junkie, whose claim to fame rests entirely on one book--the hallucinogenic ravings of a heroin addict--so seized the collective imagination? Burroughs wrote <em>Naked Lunch</em> in a Tangier, Morocco, hotel room between 1954 and 1957. Allen Ginsberg and his beatnik cronies burst onto the scene, rescued the manuscript from the food-encrusted floor, and introduced some order to the pages. It was published in Paris in 1959 by the notorious Olympia Press and in the U.S. in 1962; the landmark obscenity trial that ensued served to end literary censorship in America. </p><p>Burroughs's literary experiment--the much-touted "cut-up" technique--mirrored the workings of a junkie's brain. But it was junk coupled with vision: Burroughs makes teeming amalgam of allegory, sci-fi, and non-linear narration, all wrapped in a blend of humor--slapstick, Swiftian, slang-infested humor. What is <em>Naked Lunch</em> about? People turn into blobs amidst the sort of evil that R. Crumb, in the decades to come, would inimitably flesh out with his dark and creepy cartoon images. Perhaps the most easily grasped part of <em>Naked Lunch</em> is its America-bashing, replete with slang and vitriol. Read it and see for yourself. </p><h3>From Publishers Weekly</h3><p>William S. Burroughs's classic tale has been fully restored by his longtime editors, Grauerholz and Miles, and is invigorated by this enthusiastic reading. Mark Bramhall offers a professional performance peppered with every trick of the actor's trade to make it a resonating effort. He approaches the work with such energy that the story seems like a new entity, freshly relevant and timely. Listeners will lose themselves in the journey of junkie William Lee as he makes his way from bizarre destination to even more bizarre destination in this unforgettable novel. <em>A Grove paperback. (Feb.)</em> <br />Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. </p>

<div><h3>Amazon.com Review</h3><p>"He was," as <em>Salon</em>'s Gary Kamyia notes, "20th-century drug culture's Poe, its Artaud, its Baudelaire. He was the prophet of the literature of pure experience, a phenomenologist of dread.... Burroughs had the scary genius to turn the junk wasteland into a parallel universe, one as thoroughly and obsessively rendered as Blake's." </p><p>Why has this homosexual ex-junkie, whose claim to fame rests entirely on one book--the hallucinogenic ravings of a heroin addict--so seized the collective imagination? Burroughs wrote <em>Naked Lunch</em> in a Tangier, Morocco, hotel room between 1954 and 1957. Allen Ginsberg and his beatnik cronies burst onto the scene, rescued the manuscript from the food-encrusted floor, and introduced some order to the pages. It was published in Paris in 1959 by the notorious Olympia Press and in the U.S. in 1962; the landmark obscenity trial that ensued served to end literary censorship in America. </p><p>Burroughs's literary experiment--the much-touted "cut-up" technique--mirrored the workings of a junkie's brain. But it was junk coupled with vision: Burroughs makes teeming amalgam of allegory, sci-fi, and non-linear narration, all wrapped in a blend of humor--slapstick, Swiftian, slang-infested humor. What is <em>Naked Lunch</em> about? People turn into blobs amidst the sort of evil that R. Crumb, in the decades to come, would inimitably flesh out with his dark and creepy cartoon images. Perhaps the most easily grasped part of <em>Naked Lunch</em> is its America-bashing, replete with slang and vitriol. Read it and see for yourself. </p><h3>From Publishers Weekly</h3><p>William S. Burroughs's classic tale has been fully restored by his longtime editors, Grauerholz and Miles, and is invigorated by this enthusiastic reading. Mark Bramhall offers a professional performance peppered with every trick of the actor's trade to make it a resonating effort. He approaches the work with such energy that the story seems like a new entity, freshly relevant and timely. Listeners will lose themselves in the journey of junkie William Lee as he makes his way from bizarre destination to even more bizarre destination in this unforgettable novel. <em>A Grove paperback. (Feb.)</em> <br>Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. </p></div> SUMMARY: N "aked Lunch is one of the most important novels of the twentieth century. Exerting its influence on the work of authors like Thomas Pynchon, J. G. Ballard, and William Gibson, on the relationship of art and obscenity, and on the shape of music, film, and media generally, it is one of the books that redefined not just literature but American culture. Reedited by Burroughs scholar Barry Miles and Burroughs's longtime editor James Grauerholz, "Naked Lunch: The Restored Text includes many editorial corrections to errors present in previous editions, and incorporates Burroughs's notes on the text, several essays he wrote over the years about the book, and an appendix of 20 percent all-new material and alternate drafts from the original manuscript, which predates the first published version. For the Burroughs enthusiast and the neophyte, this volume is a valuable and fresh experience of this classic of our culture.

**The definitive text of William S. Burroughs’s early, long-unpublished novel, reissued on the seventieth anniversary of the year of its writing, set to be adapted for film directed by Luca Guadagnino and starring Daniel Craig** Originally written in 1952 but not published till 1985, *Queer* is a haunting tale of possession and exorcism. Both an unflinching autobiographical self-portrait and a coruscatingly political novel, it is both Burroughs’s only realist love story and a montage of comic-grotesque fantasies that paved the way for his masterpiece, *Naked Lunch*. Set in Mexico City during the early fifties, *Queer* follows William Lee, the protagonist of Burroughs’s debut novel Junky, a man afflicted with acute heroin withdrawal and romantic yearnings for Eugene Allerton. As Lee breaks down over the course of his hopeless pursuit of desire from bar to bar in the American expatriate scene, the trademark Burroughsian voice emerges, a maniacal mix of self-lacerating humor and the ugly American at his ugliest. Now a cult classic and a highly regarded part of his oeuvre, reissued on the seventieth anniversary of the year of its writing, this edition of *Queer* features a contextualizing introduction by the eminent Burroughs scholar Oliver Harris.

William S. Burroughs was one of the twentieth century’s most iconoclastic literary and artistic figures, an inimitable writer whose groundbreaking work in novels such as Junky and Naked Lunch forever altered the shape of American culture. Now, in this long anticipated collection, editor Bill Morgan takes readers through Burroughs’ correspondence from the early sixties through the mid-seventies, in more than three hundred letters that document Burroughs’ steady drift away from the Beat circle and that witness an era in which he became the center of a new coterie of creative people who would establish his reputation as an influential artistic and cultural leader beyond the literary world, toward multimedia. Written to recipients such as Allen Ginsberg, Gregory Corso, Jack Kerouac, Timothy Leary, and Burroughs’ son, Billy Burroughs Jr., these letters shed new light on the writer’s controversial artistic process and literary experimentation, as well as his complex personal life. Here are letters to new friends in North Africa and Eur-ope—partners in Burroughs’ expatriate life—including Paul Bowles, Ian Sommerville, Michael Portman, Alex Trocchi, and the surrealist artist Brion Gysin, who became a close confidant and whose “cut-up method” would deeply influence Burroughs’ writing. An intimate glimpse into the private life of an often misunderstood artist, Rub Out the Words is also an unforgettable portrait of one of the twentieth century’s most uncompromising literary personalities.

A pair of autobiographical novels with “a compelling narrative that balances the methedrine horrors with the outcast’s romantic search for identity" (Rolling Stone). William S. Burroughs, Jr.—son of the legendary outlaw author of Naked Lunch—often felt he was “cursed from birth.” Following in his father’s footstep in tragically uncanny ways, Burroughs chronicled his own experiences in the novels Speed and Kentucky Ham. Each presents a methedrine-inspired odyssey, and a vision of alienated youth at its most raw and uncensored. Speed follows Billy as he hustles for dope and money, crashing in garbage-strewn apartments and guiding a paranoid friend through the perilous city streets. With tough, gritty detachment, he describes the stages of his own drug addiction and physical and emotional deterioration. Kentucky Ham takes him from the squalor of the East Village crash pads to his father's literary hideaway in Tangier, and finally to incarceration at the Federal Narcotics Hospital in Lexington, Kentucky. Through both these autobiographical novels, William S. Burroughs, Jr., tells a story of generational isolation that is as relevant today as when it was first written.

"Sheer pleasure. . . . Wonderfully entertaining. "—Chicago Sun-TimesAcclaimed by Norman Mailer more than twenty years ago as "possibly the only American writer of genius," William S. Burroughs has produced a body of work unique in our time. In these scintillating essays, he writes wittily and wisely about himself, his interests, his influences, his friends and foes. He offers candid and not always flattering assessments of such diverse writers as Ernest Hemingway, F. Scott Fitzgerald, Joseph Conrad, Graham Greene, Jack Kerouac, Allen Ginsberg, Samuel Beckett, and Marcel Proust. He ruminates on science and the often dubious paths into which it seems intent on leading us, whether into outer or inner space. He reviews his reviewers, explains his famous "cut-up" method, and discusses the role coincidence has played in his life and work. As satirist and parodist, William Burroughs has no peer, as these varied works, written over three decades, amply reveal.

### From Kirkus Reviews The septuagenarian beatnik would seem to be the least likely author of a cat book, but Burroughs has clearly mellowed some and here celebrates his favorite `psychic companions.'' Full of sentimental anecdotes and bizarre pseudo-scholarly lore, his slim essay is, in his view,`an allegory, in which the writer's past life is presented to him in a cat charade.'' Fans will indeed appreciate the references to beat legend, and the cats who witnessed those days in Tangier, Morocco, and Mexico City. The usual gang of suspects makes the briefest of cameos, from Allen Ginsberg to Jane Bowles. And then there are Burroughs's cats-- Ruski, Fletch, Horatio, Wimpy, et al.--none of whom does anything beyond acting like a cat. Of course, Burroughs adds some incoherent stuff about dogs (with their `vilest coprographic perversions'') and about cats as natural enemies of the State. Lurid dreams of hybrids and mutants fill out a book also concerned with`cuteness ratings.'' The hipster's (and hepcat's) answer to Cleveland Amory. -- *Copyright ©1992, Kirkus Associates, LP. All rights reserved.* ### Product Description Best known for the wild, phantasmagoric satire of works like *Naked Lunch* , William S. Burroughs reveals another, gentler side in *The Cat Inside*. Originally published as a limited-edition volume, this moving and witty discourse on cats combines deadpan routines and dream passages with a heartwarming account of Burroughs's unexpected friendships with the many cats he has known. It is also a meditation on the long, mysterious relationship between cats and their human hosts, which Burroughs traces back to the Egyptian cult of the "animal other." With its street sense and whiplash prose, *The Cat Inside* is a genuine revelation for Burroughs fans and cat lovers alike. "The Cat Inside is about how Burroughs's contact with cats put him in touch with himself. Cats have changed his dreams; they are psychic guides who have allowed his wounded inner child to come out." (_Harper's Bazaar_) "Burroughs's book is about cats the way The Grapes of Wrath is about fruit. . . . These are haunting images, from dreams, memory and present day, ranging from unabashed affection to outrage and indignation." (_Los Angeles Times_)

A good old-fashion shoot-out in the American West of the frontier days serves as the springboard for this hyperkinetic adventure in which gunslingers, led by Kim Carson, fight for galactic freedom. The Place of Dead Roads is the second novel in the trilogy with Cities of the Red Night and The Western Lands.

In Naked Lunch, William S. Burroughs revealed his genius. In The Soft Machine he begins an adventure that will take us even further into the dark recesses of his imagination, a region where nothing is sacred, nothing taboo. Continuing his ferocious verbal assault on hatred, hype, poverty, war, bureaucracy, and addiction in all its forms, Burroughs gives us a surreal space odyssey through the wounded galaxies in a book only he could create.

In The Ticket That Exploded, William S. Burroughs’s grand “cut-up” trilogy that starts with The Soft Machine and continues through Nova Express reaches its climax as inspector Lee and the Nova Police engage the Nova Mob in a decisive battle for the planet. Only Burroughs could make such a nightmare vision of scientists and combat troops, of ad men and con men whose deceitful language has spread like an incurable disease be at once so frightening and so enthralling.

<p>A fascinating mix of autobiographical episodes and extraordinary Egyptian theology, Burroughs's final novel is poignant and melancholic. Blending war films and pornography, and referencing Kafka and Mailer, The Western Lands confirms his status as one of America's greatest writers. The final novel of the trilogy containing Cities of the Red Night and The Place of Dead Roads, this is a profound meditation on morality, loneliness, life and death.</p> <div><h3>From Publishers Weekly</h3><p>"The trilogy that began with Cities of the Red Night and continued with The Place of Dead Roads is completed here, and the result is a divine comedy," wrote PW of this "remarkable achievement," concerning the search for eternal rest that is symbolized by the Western Lands of Egyptian mythology. <br>Copyright 1988 Reed Business Information, Inc. </p><h3>From Library Journal</h3><p>This novel concludes the trilogy begun in Cities of the Red Night ( LJ 11/15/80) and The Place of the Dead Roads ( LJ 2/1/84). The title refers to the place in ancient Egyptian mythology where souls journeyed in search of immortality. Characters from Burroughs's earlier works reappear; the dreamlike prosestylistically a mixture of straight-forward and surrealistic narrative, with sparse use of the cut-up method Burroughs developed with the late Brion Gysinabounds with images of violent homosexuality, man-eating insects, and rancid decay as Burroughs explores such themes as addiction, mortality, the survival of the species, and the quest for eternal life. Essential for all serious literature collections. William Gargan, Brooklyn Coll. Lib., CUNY<br>Copyright 1987 Reed Business Information, Inc. </p></div>

The Wild Boys is a futuristic tale of global warfare in which a guerrilla gang of boys dedicated to freedom battles the organized armies of repressive police states. Making full use of his inimitable humor, wild imagination, and style, Burroughs creates a world that is as terrifying as it is fascinating.

Before the era of fake news and anti-fascists, William S. Burroughs wrote about preparing for revolution and confronting institutionalized power. In this work, Burroughs' parody becomes a set of rationales and instructions for destabilizing the state and overthrowing an oppressive and corrupt government. As with much of Burroughs' work, it is hard to say if it is serious or purely satire. The work is funny, horrifying, and eerily prescient, especially concerning the use of language and social media to undermine institutions. The Revised Boy Scout Manual was a work Burroughs revisited many times, but which has never before been published in its complete form. Based primarily on recordings of a performance of the complete piece found in the archives at the OSU libraries, as well as various incomplete versions of the typescript found at Arizona State University and the New York Public Library archives, this lost masterpiece of satiric subversion is finally available in its entirety.

<p>With the publication of Naked Lunch in 1959, William Burroughs abruptly brought international letters into the postmodern age. Beginning with his very early writing (including a chapter from his and Jack Kerouac's never-before-seen collaborative novel), Word Virus follows the arc of Burroughs's remarkable career, from his darkly hilarious "routines" to the experimental cut-up novels to Cities of the Red Night and The Cat Inside. Beautifully edited and complemented by James Grauerholz's illuminating biographical essays, Word Virus charts Burroughs's major themes and places the work in the context of the life. It is an excellent tool for the scholar and a delight for the general reader. Throughout a career that spanned half of the twentieth century, William S. Burroughs managed continually to be a visionary among writers. When he died in 1997, the world of letters lost its most elegant outsider.</p> With the publication of Naked Lunch in 1959, William Burroughs abruptly brought international letters into the postmodern age. Beginning with his very early writing (including a chapter from his and Jack Kerouac's never-before-seen collaborative novel), Word Virus follows the arc of Burroughs's remarkable career, from his darkly hilarious "routines" to the experimental cut-up novels to Cities of the Red Night and The Cat Inside. Beautifully edited and complemented by James Grauerholz's illuminating biographical essays, Word Virus charts Burroughs's major themes and places the work in the context of the life. It is an excellent tool for the scholar and a delight for the general reader. Throughout a career that spanned half of the twentieth century, William S. Burroughs managed continually to be a visionary among writers. When he died in 1997, the world of letters lost its most elegant outsider.