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overriding themes of their respective
chapters. These instances are also explained
in further detail in Grauerholz’s introduc-
tions. The chapters are broken down as fol-
lows: “The Name Is Burroughs,” “A Hard-
Boiled Reporter,” “Interzone,” “The Cut-
Ups,” “Inspector Lee: Nova Heat,” “Queer
Utopia,” “The Red Night Trilogy,” and “Late
Work.”
Word Virus ends with sections from the
last major work published during Burroughs’
life, My Education: A Book of Dreams. His
last two years of journal writing, which will
be published at a later date, have been ex-
cluded, as it was our wish to honor the Word
Virus manuscript that Burroughs approved
before his death.
The editing of Word Virus: The William S.
Burroughs Reader was completed at the end
of July 1997, one week before William Bur-
roughs succumbed to a fatal heart attack.
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I recall the afternoon I delivered the
manuscript to his home. The box it was in
was eight inches tall and weighed ten
pounds. It landed on William’s dining table
with a thud and I said, “Here, William, is our
attempt at boiling down your life’s work.” He
immediately opened the box, carefully in-
spected the table of contents, thumbed
through some pages, and said, “My dear, you
boys have been working very hard and ap-
pear to have done a complete job.” He
thumbed through a bit more and added,
“Well, it all seems to be in order.” He then
closed the box. An anticlimax for sure, but I
was well aware of his reticence in such mat-
ters, and also sure that he’d have a thorough
going-over of the manuscript when I left.
Ivisited William the next day, and at some
point he nodded at the box and said, “I think
we shall call it Just for Jolly. You realize, of
course, these are words of Jack the Ripper,
uttered in response to a query as to the
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motivation for his crimes. ‘Just for jolly,’ he
said. And indeed what else shall we call a
life’s work?” He’d been reading about Jack
the Ripper in those final days; he’d also been
reading a great deal of Tennyson, and was
fond in particular of the poem “Ulysses,”
from which we tried to find a line or two for
an alternate title. I reminded him of our
working title, the title which ultimately
stuck, and it took some time to convince him
that the book should have a moniker more
true to his oeuvre. And so, Word Virus it
was.
It should be said here, both as a disclaimer
and as a testament to the collaborative spirit
which William engendered, that this antho-
logy has been put together by two members
of the Burroughs “family”—family in the
queer sense of the word, the family one
chooses. James Grauerholz had been in Wil-
liam Burroughs’ life as friend, companion,
manager, and editor from
1974 until
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William’s death in 1997. He was the most im-
portant partner Burroughs ever had and con-
tinues as Burroughs’ literary executor. His
diligence, hard work, and love of William,
the man and the writer, allowed William to
enjoy his final years in comfort, and
provided him with the luxury of time to pur-
sue his art and writing.
Icame onto the Burroughs scene in 1981
and lived in Lawrence, Kansas, from 1982
until the beginning of 1984. Through Willi-
am and James I became immersed in the
world of letters and chose a career in pub-
lishing, where, among other things, I have
worked as William’s personal publicist and
as his publisher (both at High Risk Books
and at Grove Press).
While we have both been close to the man,
so too have we been close to the work. It is
with the inspiration from William’s writing
and friendship that we have endeavored to
34/1780
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present a fair portrait of his life’s work
through our selections.
New York City, 1998
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“punching a hole in the
big lie”: the
achievement of
William s. burroughs
by ann douglas
“When did I stop wanting to be President?”
Burroughs once asked himself, and promptly
answered, “At birth certainly, and perhaps
before.” A public position on the up-and-up,
acareer of shaking hands, making speeches,
and taking the rap held no appeal for one
who aspired to be a “sultan of sewers,” an
antihero eye-deep in corruption, drugs, and
stoic insolence, watching “Old Glory float
lazily in the tainted breeze.”
Burroughs started out in the 1940s as a
founding member of the “Beat Generation,”
the electric revolution in art and manners
that kicked off the counterculture and intro-
duced the hipster to mainstream America, a
movement for which Jack Kerouac became
the mythologizer, Allen Ginsberg the proph-
et, and Burroughs the theorist. Taken togeth-
er, their best-known works—Ginsberg’s
exuberant
take-the-doors-off-their-hinges
jeremiad Howl (1956); Kerouac’s sad, funny,
and inexpressibly tender “true story” novel
On the Road (1957); and Burroughs’ avant-
garde narrative Naked Lunch (1959), a
Hellzapoppin saturnalia of greed and
lust—managed to challenge every taboo that
respectable America had to offer.
Over the course of his long career, Bur-
roughs steadfastly refused to honor, much
less court, the literary establishment. Invited
in 1983 to join the august Academy and In-
stitute of Arts and Letters, he remarked,
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“Twenty years ago they were saying I be-
longed in jail. Now they’re saying I belong in
their club. I didn’t listen to them then, and I
don’t listen to them now.” Adept in carny
routines and vaudevillian sleights of hand,
Burroughs was a stand-up comic, a deadpan
ringmaster of Swiftian satire and macabre
dystopias, who claimed an outsider role so
extreme as to constitute extraterrestrial
status. “I’m apparently some kind of agent
from another planet,” he told Kerouac, “but I
haven’t got my orders decoded yet.”
Unlike Ginsberg and Kerouac, however,
Burroughs, born in 1914 to a well-to-do
Wasp family in St. Louis, was part of the
American elite. Indeed, as he often noted, his
personal history seemed inextricably inter-
twined with some of the most important and
ominous events of the modern era. In the
1880s, his paternal grandfather had invented
the adding machine, a harbinger of the alli-
ance of technology and corporate wealth that
38/1780
made possible the monstrously beefed-up
defense industry of the Cold War years. Bur-
roughs’ maternal uncle, Ivy Lee, a pioneer of
public relations, had helped John D. Rocke-
feller Jr. improve his image after the Ludlow
Massacre of 1914, in which Colorado state
militia shot two women and eleven children
in a dispute between miners and manage-
ment. In the 1930s, Lee served as Hitler’s ad-
miring publicist in the United States, an
achievement that Congressman Robert
LaFollette branded “a monument of shame.”
Thin, physically awkward, with a narrow,
impassive, even hangdog face as an adoles-
cent, Burroughs qualified easily as the most
unpopular boy in town. One concerned par-
ent compared him to “a walking corpse.”
(Burroughs agreed, only wondering whose
corpse it was.) Already interested in drugs,
homosexuality, and con artistry, devoid of
team spirit and “incurably intelligent,” he
was at best a problematic student, a
39/1780
troubling presence at several select schools,
among them the Los Alamos Ranch School
in New Mexico, the site J. Robert Oppen-
heimer commandeered in 1943 for the sci-
entists engaged in the Manhattan Project.
Los Alamos birthed the bombs that des-
troyed Hiroshima and Nagasaki and brought
into being what Burroughs sardonically re-
ferred to as “the sick soul, sick unto death, of
the atomic age,” the central theme of his
work.
In 1936, Burroughs graduated from Har-
vard, a place whose pretensions he loathed; a
blank space appeared in the yearbook where
his photograph should have been. He then
traveled to Vienna and saw for himself what
the Nazi regime his uncle had promoted was
up to. For Burroughs, as for Jean Genet, one
of his literary heroes, Hitler became a semin-
al figure; he never forgot that everything
Hitler had done was legal. During the 1940s,
Burroughs worked as a drug pusher and a
40/1780
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