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The Johnson Family (excerpts)
(1977)
QUEER UTOPIA (1968–73)
James Grauerholz: “Queer Utopia”
From The Wild Boys (1968–69):
And Bury the Bread Deep in a Sty
The Penny Arcade Peep Show
“Mother and I Would Like to Know”
The Wild Boys Smile
From Exterminator!:
“Exterminator!” (1966)
The Discipline of DE (1970)
“What Washington? What Orders?”
(1972)
From Here to Eternity (1972)
Seeing Red (1972)
The “Priest” They Called Him (1967)
Cold Lost Marbles (1972)
21/1780
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THE
RED
NIGHT
TRILOGY
(1973–87)
James Grauerholz: “The Red Night
Trilogy”
From
Cities of the Red Night
(1974–80):
Fore!
Invocation
Politics Here Is Death
Harbor Point
The Private Asshole
Lettre de Marque (excerpt)
Port Roger (excerpt)
Cities of the Red Night
We Are Here Because of You
Return to Port Roger
From The Place of Dead Roads (se-
lections) (1977–83):
Shoot-Out in Boulder
22/1780
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“For three days Kim had camped on
the mesa top . . .”
“Kim has never doubted the possibil-
ity of an afterlife . . .”
“Kim got off the stage at Cottonwood
Junction”
“Look at this picture from Tom’s
collection . . .”
“Kim recruits a band of flamboyant
and picturesque outlaws . . .”
“Killed in the Manhattan Shoot-Out.
. . April 3, 1894 . . .”
“William Seward Hall. . .”
“Kim sees his life as a legend . . .”
“Guy Graywood arrived from New
York . . .”
“Kim spent three years in Paris . . .”
“The guide traces the area on the
map . . .”
“So in what guise shall he return to
the New World . . .”
23/1780
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“Kim is heading north for Boulder . .
.”
From
The
Western
Lands
(selections) (1982–86):
“The old writer lived in a boxcar by
the river . . .”
“Joe the Dead lowered the rifle . . .”
“Neferti is eating breakfast. . .”
“The Door Dog is a limited artifact. .
.”
“Consider the One God Universe . . .”
“The Road to the Western Lands . . .”
“Neferti is dropping his Ego, his Me .
. .”
“June 6, 1985. Friday. I am in Iran
someplace . . .”
“In present-day Egypt. . .”
“The Land of the Dead: a long street
with trees . . .”
The Wishing Machine
“It was a hectic, portentous time in
Paris, in 1959 . . .”
24/1780
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LATE WORK (1984–97)
James Grauerholz: “Late Work”
From The Cat Inside (selections)
(1982–85)
From My Education: A Book of
Dreams (selections) (1986–94)
James Grauerholz: “Epilogue”
Selected Bibliography
25/1780
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editor’s preface
by ira silverberg
Word Virus: The William S. Burroughs
Reader collects passages, routines, chapters,
and condensations of the entire literary out-
put of William S. Burroughs. While this is a
rather formidable anthology, it only repres-
ents about 10 percent of Burroughs’ pub-
lished work.
We have attempted, through our selec-
tions, to follow recurring themes and charac-
ters in Burroughs’ work as well as to chron-
icle the shifts in style and content which took
place throughout the years he wrote. The an-
thology is meant as much for the general
reader as it is for the scholar, and provides
links between Burroughs’ life and his writing
through the chapter introductions written by
James Grauerholz. Writer and scholar Ann
Douglas’ introductory essay provides both an
overview of the work and a history of the
writer and his contemporaries.
In choosing from almost fifty years of Bur-
roughs’ work, we have focused our attention
on his most memorable passages and the
trademark “routines,” along with those
which demonstrate a continuity of Bur-
roughs’ vision. While stylistic changes took
place over time, Burroughs had several liter-
ary, artistic, and political concerns which
permeated his work. His lack of comfort with
the human body, his mistrust of authority
and control, his utopian visions, and his
early themes of gay liberation are all to be
found here. Throughout, one sees these con-
cerns repeat, multiply, take new shape, and
adjust to the surroundings in which Bur-
roughs places them. One also sees the formal
and physical experimentation with the
27/1780
work—the
cut-ups, the
fold-ins, the
collaborations.
While Burroughs has been frequently re-
legated to one iconic label or other—“High
Priest of Junk,” “Godfather of Punk,” or “Gay
Rights Pioneer”—we have tried to show an-
other side of his character by chronicling the
maturation of his emotional concerns. “El
Hombre Invisible” emerges through these
texts as a man looking for an answer, search-
ing for reconciliation. By including his intro-
duction to Queer (in which he writes of the
killing of his wife, Joan), as well as the soul-
searching texts of his later years, a more
complex Burroughs emerges, one which the
labels preclude. William Burroughs just
wanted to live, and ultimately die, peacefully.
He tried hard in his final years to exorcise
the demons which both haunted him and in-
fused his work with a characteristic sense of
discomfort and otherness.
28/1780
The
dichotomy
of the
gun-toting,
substance-abusing queer seeking spiritual
refuge might strike some as anticlimactic.
But William Burroughs was not what he ap-
peared to be to many of his fans. The work
which so many revere as biblical texts in the
church of addiction were always seen by the
writer himself as cautionary rather than vis-
ionary. In constructing this book, we found
the visionary texts in routines like “Electron-
ic Revolution” and in the landscapes which
presage Ridley Scott’s Blade Runner and
William Gibson’s Neuromancer.
Organized, for the most part, chronologic-
ally, Word Virus isolates specific periods in
Burroughs’ writing life. We have intention-
ally left out collages and letters (with the ex-
ception of The Yagé Letters, which provides
an introduction to Interzone and Naked
Lunch), as they both fall outside the para-
meters of this collection and are ultimately
better
presented
in
their
original
29/1780
publications. We have, however, included
collaborations with Kells Elvins, Jack Kerou-
ac, and Brion Gysin.
We begin this anthology with very early
work in the chapter titled “The Name Is Bur-
roughs,” where his literary characteristics
can be seen in his teen years. Here, too, we
present a chapter from And the Hippos Were
Boiled in Their Tanks, an early, unpublished
collaboration with Jack Kerouac. Burroughs
and Kerouac alternated chapters in con-
structing this novel and this chapter repres-
ents Burroughs’ first attempt at conjuring
the scene around him at Columbia in the
1940s. The mythology of And the Hippos. . .
is elaborated upon by James Grauerholz.
As the anthology progresses, there is the
occasional lapse in chronology. The routine
called “The Name Is Burroughs,” the Queer
introduction, and the pieces in the chapter
titled “Inspector Lee: Nova Heat” all fall out
of sequence for reasons pertaining to the
30/1780
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