Naked Lunch: The Restored Text

Product Information

Ranaldo, Lee (2012). "Interview with William S. Burroughs". In Colin Fallows & Synne Genzmer (Eds.), Cut-ups, cut-ins, cut-outs, p. 48. Vienna: Kunsthalle Wien. ISBN 3869843152.

public Wi-Fi - this extends to the majority of our public spaces including the Reading Rooms, as well as our study desks and galleries at St Pancras (you won't require a login) Our Family Station in St Pancras is open from 10.00-12.00 every Friday and we're continuing to welcome schools, as well as families and adult learners to our courses and access events. All our in-person and livestreamed events are going ahead. Other services Burroughs, William S. (2001). Grauerholtz, James; Miles, Barry (eds.). Naked Lunch (the restored texted.). Grove Press. ISBN 0-8021-4018-1. Burroughs supported himself and his addiction by publishing pieces in small literary presses. His avant-garde reputation grew internationally as hippies and college students discovered his earlier works. He developed a close friendship with Antony Balch and lived with a young hustler named John Brady who continuously brought home young women despite Burroughs' protestations. In the midst of this personal turmoil, Burroughs managed to complete two works: a novel written in screenplay format, The Last Words of Dutch Schultz (1969); and the traditional prose-format novel The Wild Boys (1971).

What is currently available?

The truth was somewhat less romantic. Burroughs became – as he wrote in the book, Junky – “a ghost in daylight on a crowded street”. He spent four years in Tangier working on the book that would finally make his name – Naked Lunch. The book was produced under the influence of marijuana and opiates. Naked Lunch used a style that Burroughs would go on to pioneer known as “cut-up technique”, where he cut up phrases and words to create new sentences as well as cutting different scenes together, even if they were out of context or didn’t make narrative sense. He described Naked Lunch as a book that could be cut into at any point. Burroughs later defended his “cut-up technique”: Having inadvertently accomplished his mission, Lee flees to Interzone, located in a city somewhere in North Africa. He spends his time writing reports concerning his mission; these documents, at the insistence of his visiting literary colleagues, are eventually compiled into the titular book. While Lee is addicted to assorted mind-altering substances, his replacement typewriter, a Clark Nova, becomes a talking insect which tells him to find Dr. Benway by seducing Joan Frost, a doppelgänger of his dead wife. There is a row at gunpoint with Joan's husband Tom, after Lee steals his typewriter, which is then destroyed by the Clark Nova insect. Lee also encounters Yves Cloquet, who is apparently an attractive young gay Swiss gentleman. However, Lee later discovers that Yves is merely disguised as a human, and that his true form is a huge monstrous shapeshifting centipede.

Burroughs clearly indicates here that he prefers to be evaluated against such criteria over being reviewed based on the reviewer's personal reactions to a certain book. Always a contradictory figure, Burroughs nevertheless criticized Anatole Broyard for reading authorial intent into his works where there is none, which sets him at odds both with New Criticism and the old school as represented by Matthew Arnold. Upon publication, Grove Press added to the book supplementary material regarding the censorship battle as well as an article written by Burroughs on the topic of drug addiction. In 2001, a "restored text" edition of Naked Lunch was published with some new and previously suppressed material added. Lacayo, Richard (8 January 2010). "All-TIME 100 Novels". Time . Retrieved 15 November 2016– via entertainment.time.com. The film score is composed by Cronenberg's staple composer, Howard Shore, and features free jazz musician Ornette Coleman. The music of the Master Musicians of Jajouka led by Bachir Attar is also featured throughout the film. The use of Coleman's composition "Midnight Sunrise", recorded for his Dancing in Your Head album, is relevant, as author William S. Burroughs was present during the 1973 recording session. [18] Release [ edit ] Box office [ edit ]

Time and space shift again to a nonspecific location known as "the Interzone." Hassan and a "notorious liquefactionist" are hosting a violent orgy. A character named AJ is introduced as he crashes the orgy while imitating a pirate and indiscriminately decapitating people. An infuriated Hassan tells AJ to never return. The reader then learns about the multiple political castes in the Interzone, and how their frequent clashing has resulted in a dystopian nightmare. I would say that my most interesting experience with the earlier techniques was the realization that when you make cut-ups you do not get simply random juxtapositions of words, that they do mean something, and often that these meanings refer to some future event. I've made many cut-ups and then later recognized that the cut-up referred to something that I read later in a newspaper or a book, or something that happened ... Perhaps events are pre-written and pre-recorded and when you cut word lines the future leaks out. [93]

Burroughs: Certainly. I'm interested in the golden dawn, Aleister Crowley, all the astrological aspects." — William S. Burroughs [84]Kadrey, Richard; McCaffery, Larry (1991). "Cyberpunk 101: A Schematic Guide to Storming the Reality Studio". In McCaffery, Larry (ed.). Storming the reality studio: a casebook of cyberpunk and postmodern science fiction. Durham: Duke University Press. p.18. ISBN 978-0-8223-1158-4. Burroughs scholar Timothy S. Murphy found the film to be a muddled adaptation that reflects Cronenberg's mind more than the novel: he feels that Burroughs' subversive, allegorically political depiction of drugs and homosexuality becomes merely aesthetic. Murphy argues that Burroughs' social and politically situated literary techniques become in the film merely the hallucination of a junkie, and that by using the life of Burroughs himself as a framing narrative, Cronenberg turns a fragmented, unromantic, bitterly critical and satirical novel into a conventional bildungsroman. [29] During this time, Burroughs began using morphine and became addicted. He eventually sold heroin in Greenwich Village to support his habit. Vollmer also became an addict, but her drug of choice was Benzedrine, an amphetamine sold over the counter at that time. Because of her addiction and social circle, her husband immediately divorced her after returning from the war. With urging from Allen Ginsberg, and also perhaps Kerouac, Burroughs became intellectually and emotionally linked with Vollmer and by summer1945, had moved in with Vollmer and her daughter. In spring1946, Burroughs was arrested for forging a narcotics prescription. Vollmer asked her psychiatrist, Lewis Wolberg, to sign a surety bond for Burroughs' release. As part of his release, Burroughs returned to St.Louis under his parents' care, after which he left for Mexico to get a divorce from Ilse Klapper. Meanwhile, Vollmer's addiction led to a temporary psychosis that resulted in her admission to Bellevue Hospital, which endangered the custody of her child. Upon hearing this, Burroughs immediately returned to New York City to gain her release, asking her to marry him. Their marriage was never formalized, but she lived as his common-law wife. They returned to St.Louis to visit Burroughs' parents and then moved with her daughter to Texas. [22] Vollmer soon became pregnant with Burroughs' child. Their son, William S. Burroughs Jr., was born in 1947. The family moved briefly to New Orleans in 1948. [23] Mexico and South America (1950–1952) [ edit ]