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deviations from the masculine norm, in the
era that could almost be said to have inven-
ted the idea of classified information, they
openly addressed homosexuality, bisexuality,
and masturbation in their work, declassify-
ing the secrets of the male body, making
sexuality as complex as individual identity,
and pushing their chosen forms to new limits
in the process.
Though Kerouac did not consider himself
homosexual, he had intermittent sex with
Ginsberg throughout the 1940s and early
1950s. Ginsberg and Burroughs had also
been lovers, and their deep and steady
friendship outlasted their physical affair.
Shortly before his death from cancer on April
5, 1997, Ginsberg telephoned Burroughs to
tell him that he knew he was dying. “I
thought I would be terrified,” Allen said, “but
Iam exhilarated!” These were his “last words
to me,” Burroughs noted in his journal; it
was an invitation a “cosmonaut of inner
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space,” in his favored phrase of self-descrip-
tion, could not fail to accept. He died four
months later.
Some of Burroughs’ last journal entries
were about Allen and “the courage of his
total sincerity.” Though Kerouac’s self-eva-
sions had strained Burroughs’ patience long
before Kerouac’s death in 1969, he always
loved the passage in On the Road in which
Kerouac spoke of feeling like “somebody
else, some stranger . . . my whole life was a
haunted life, the life of a ghost.” Burroughs,
too, knew what it was to be “a spy in some-
body else’s body where nobody knows who is
spying on whom.” In The Western Lands,
Burroughs imagined a new kind of currency,
underwritten not by gold or silver but by
moral virtues and psychological achieve-
ments. Rarest of all are the “Coin of Last Re-
sort,” awarded those who have come back
from certain defeat, and the “Contact Coin,”
which “attests that the bearer has contacted
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other beings.” Finally, love between men was
simply love, and love, Burroughs wrote in his
journal the day before he died, is “What
there is. Love.”
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Selected Bibliography
Abel, Lionel. “Beyond the Fringe.” Par-
tisan Review. 30 (1963): 109–112.
Burroughs, William S. “Final Words.”
The New Yorker. (August 18, 1997):
Fiedler, Leslie A. “The New Mutants.”
Huncke, Herbert. The Herbert Huncke
Reader. Ed. Benjamin G. Schafer.
New York: William and Morrow
Company, 1997.
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Johnson, Joyce. “Reality Sandwiches.”
American Book Review. 18 August-
September (1997): 13.
Kazin, Alfred. “He’s Just Wild about
Writing.” The New York Times
Book Review. (December 12, 1971):
4, 22.
Kerouac, Jack. Vanity of Duluoz: An
1935–1946. 1968; rpt., New York:
Penguin Books, 1994.
Knickerbocker, Conrad. “William Bur-
roughs: An Interview.” The Paris
Review. 35 (1965): 13–49.
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McCarthy, Mary. “Burroughs’ Naked
Lunch.” William S. Burroughs at
the Front: Critical Reception,
1959–1989. Ed. Jennie Skerl and
Lydenberg. Carbondale:
Southern Illinois University Press,
1991: 33–39.
McLuhan, Marshall. “Notes on Bur-
roughs.” The Nation (December 28,
1964): 517–519.
Morgan, Ted. Literary Outlaw: The Life
and Times of William S. Bur-
roughs. 1988; rpt., New York: Avon
Books, 1990.
Siebers, Tobin. Cold War Criticism and
the Politics of Skepticism. New
York: Oxford, 1993.
Tanner, Tony. City of Words: American
Jonathan Cape, 1971.
Tytell, John. Naked Angels: Kerouac,
Ginsberg, Burroughs. New York:
Grove Weidenfeld, 1976.
Watson, Steven. The Birth of the Beat
Generation: Visionaries, Rebels,
and Hipsters, 1944–1960. New
York: Pantheon, 1995.
editors’ note
The editor’s selections from William Bur-
roughs’ writings are arranged chronologic-
ally, for the most part. Source citations are
by book title and chapter title (if any) and in-
clude some embedded subheadings, follow-
ing the author’s text. All selections from nov-
els begin with the first pages of the full book,
and end with the last pages of the book; the
author’s sequence is followed. Collections of
shorter pieces are grouped according to the
title of the published collection, and the title
of each piece is given. When a titled chapter
or passage from a novel is not presented in
its entirety, this is indicated in the table of
contents and in the heading of the passage.
Where the chapters of a book are neither
numbered nor titled, cuts are indicated by a
double line-space. In The Place of Dead
Roads and The Western Lands, chapter
numbers and section titles are omitted in fa-
vor of a listing of first lines from the selected
passages, to offer a reader a map of the
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