William S. Burroughs

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William Seward Burroughs (1914-02-05 – 1997-08-02), more commonly known as William S. Burroughs, was an American novelist, essayist, social critic, painter and spoken word performer. Much of Burroughs' work is semi-autobiographical, drawn from his experiences as an opiate addict, a condition that marked the last fifty years of his life. He was a central member of the Beat Generation and an avant-garde author who influenced popular culture as well as literature. In 1984 he was elected to the American Academy and Institute of Arts and Letters.

[edit] Sourced

  • A ghost in daylight on a crowded street.
    • Junkie (1953)
  • Cut word lines — Cut music lines — Smash the control images — Smash the control machine — Burn the books — Kill the priests — Kill! Kill! Kill!
    • The Soft Machine (1961)
  • Communication must become total and conscious before we can stop it.
    • The Ticket That Exploded (1962)
  • The 'Other Half' is the word. The 'Other Half' is an organism. Word is an organism. The presence of the 'Other Half' is a separate organism attached to your nervous system on an air line of words can now be demonstrated experimentally. One of the most common 'hallucinations' of subject during sense withdrawal is the feeling of another body sprawled through the subject's body at an angle...yes quite an angle it is the 'Other Half' worked quite some years on a symbiotic basis. From symbiosis to parasitism is a short step. The word is now a virus. The flu virus may have once been a healthy lung cell. It is now a parasitic organism that invades and damages the central nervous system. Modern man has lost the option of silence. Try halting sub-vocal speech. Try to achieve even ten seconds of inner silence. You will encounter a resisting organism that forces you to talk. That organism is the word.
    • The Ticket That Exploded (1962)
  • 1. Never give anything away for nothing. 2. Never give more than you have to (always catch the buyer hungry and always make him wait). 3. Always take back everything if you possibly can.
    • On drug dealing, quoted in The Daily Telegraph (1964)
  • You know, they ask me if I were on a desert island and I knew nobody would ever see what I wrote, would I go on writing. My answer is most emphatically yes. I would go on writing for company. Because I'm creating an imaginary—it's always imaginary—world in which I would like to live.
    • Quoted in interview, The Paris Review (Fall 1965)
  • The hallucinogens produce visionary states, sort of, but morphine and its derivatives decrease awareness of inner processes, thoughts and feelings. They are pain killers; pure and simple. They are absolutely contraindicated for creative work, and I include in the lot alcohol, morphine, barbiturates, tranquilizers—the whole spectrum of sedative drugs.
    • Quoted in interview, The Paris Review (Fall 1965), in response to "The visions of drugs and the visions of art don't mix?"
  • A paranoid man is a man who knows a little about what's going on.
    • Quoted in Friend magazine (1970)
  • As a young child Audrey Carsons wanted to be writers because writers were rich and famous. They lounged around Singapore and Rangoon smoking opium in a yellow pongee silk suit. They sniffed cocaine in Mayfair and they penetrated forbidden swamps with a faithful native boy and lived in the native quarter of Tangier smoking hashish and languidly caressing a pet gazelle.
    • Exterminator! (1979), "The Lemon Kid"
  • Faced by the actual practice of freedom, the French and American revolutions would be forced to stand by their words.
    • Cities of the Red Night (1981)
  • There is simply no room left for 'freedom from the tyranny of government' since city dwellers depend on it for food, power, water, transportation, protection, and welfare. Your right to live where you want, with companions of your choosing, under laws to which you agree, died in the eighteenth century with Captain Mission. Only a miracle or a disaster could restore it.
    • Cities of the Red Night (1981)
  • Remember the Italian steward who put on women's clothes and so filched a seat in a lifeboat? "A cur in human shape, certainly he was born and saved to set a new standard by which to judge infamy and shame."
    • The Western Lands (1987), p. 6
  • Cheat your landlord if you can and must, but do not try to shortchange the Muse. It cannot be done. You can't fake quality any more than you can fake a good meal.
    • The Western Lands (1987)
  • England has the most sordid literary scene I've ever seen. They all meet in the same pub. This guy's writing a foreword for this person. They all have to give radio programs, they have to do all this just to scrape by. They're all scratching each other's backs.

[edit] Naked Lunch (1959)

Grove Press, 2003, ISBN 0-802-11639-6, 289 pages

  • Hustlers of the world, there is one Mark you cannot beat: The Mark Inside. (p. 11)
    • From the chapter entitled "Rube"
  • A functioning police state needs no police. (p. 31)
    • From the chapter entitled "Benway"
  • I awoke from The Sickness at the age of forty-five, calm and sane, and in reasonably good health except for a weakened liver and the look of borrowed flesh common to all who survive The Sickness... When I speak of drug addiction I do not refer to keif, marijuana or any preparation of hashish, mescaline, Banisteriopsis caapi, LSD6, Sacred Mushrooms or any other drugs of the hallucinogen group... There is no evidence that the use of any hallucinogen results in physical dependence. (pp. 199-201)
    • From "Deposition: Testimony Concerning a Sickness," the introduction to the 1960 edition
  • Our national drug is alcohol. We tend to regard the use of any other drug with special horror. (p. 201)
    • From "Deposition: Testimony Concerning a Sickness"
  • The junk merchant doesn't sell his product to the consumer, he sells the consumer to his product. He does not improve and simplify his merchandise. He degrades and simplifies the client. (p. 224)
    • From "Letter from a Master Addict to Dangerous Drugs," Written in 1956, first published in The British Journal of Addiction, vol. 52, no. 2, p. 1 (January 1957) and later used as footnotes in The Naked Lunch. In the Grove Press edition, it is printed as an appendix.

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