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The late William S. Burroughs is a counterculture icon. His originality and vision stand out in the more than two dozen books he wrote, including the landmark novel "Naked Lunch." In 1962, Norman Mailer described Burroughs as the only American writer living today who may be possessed by genius. William Burroughs was born 100 years ago today. And we have this appreciation from Tom Vitale in New York.
TOM VITALE, BYLINE: William Burroughs believed words took on new meaning if you could see them or hear them in a new way.
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VITALE: In 1959, Burroughs made these cut-up recordings using reel-to-reel tape to record snippets of everything from readings to TV and radio clips, then rewinding, randomly stopping and recording over the original sounds.
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VITALE: It's the same technique Burroughs used in his masterpiece, the novel "Naked Lunch." He shuffled the sections of the manuscript before submitting it to the publisher. The result was a story that jumps from scene to scene, idea to idea, narrator to narrator, in a random, disjointed manner. As Burroughs told me in 1987, in the apartment he called the bunker on the Bowery, the idea for the cut-ups came from his friend and collaborator, the late avant-garde artist Brion Gysin.
: He was, of course, the inventor of the cut-up method, which did introduce an element of chance into selection of material for writing. And, of course, then he realized that life is a cut-up. Every time you walk down the street or look out the window, you're consciousness is being cut by these random factors. So it's really closer to the actual facts of perception.
VITALE: Burroughs' perception while writing "Naked Lunch" was affected by heroin and withdrawal from it. In a commercial recording, he extrapolated the terror of that withdrawal into a vivid scene of horrible creatures drinking in a dark cafe.
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VITALE: The vivid language and erotic fantasies in "Naked Lunch" led to an obscenity trial, which the writer and publisher won. The central theme of much of what Burroughs wrote is the attempt of those in power to control those who aren't, says Barry Miles, author of the new 600-page biography "Call Me Burroughs."
BARRY MILES: I think his main role has been to look for control systems and be yourself, try and get beyond them and find out who you really are rather than who other people want you to be or what circumstances have made you. And in that, I think we need to more than ever, quite honestly, because this society becomes more and more a surveillance society and less and less of a democratic society.
VITALE: Yet, Burroughs came from society. He was named for his grandfather, the inventor of the adding machine and founder of the Burroughs Corporation. He went to Harvard and studied English, but he had no intention of writing until he met 17-year-old poet Allen Ginsberg and 21-year-old novelist Jack Kerouac. They shared an apartment and what they called a new vision.
: Artistically, we were doing completely different things. It comes down to the fact that we did have quite a lot in common: being interested in expanded awareness and being completely disillusioned with all the old answers.
VITALE: It was the beginning of what became known as the Beat Generation. And among its circle, Burroughs found a soulmate. Joan Vollmer became his common-law wife for six years, even though he himself was gay. He preferred the word queer. By 1951, they were living in Mexico City when they found themselves at a party, drunk, says biographer Barry Miles.
MILES: It was during this party that at one point he just told Joan, let's do our William Tell act. And she put this shot glass on her head. And he whipped out his gun and he missed, of course, he shot low and got her in the forehead. It was quite clearly an accident, but he felt that some bad part of him, some evil spirit in him had motivated him.
VITALE: In 1985, Burroughs told me he spent the rest of his life trying to write his way out of the death of Joan.
: It was an event that made me see - or made me into a writer. And of course, a writer, all his work will pivot around some simple idea - like Poe, the fear of being buried alive, which happened in those days. But it was a sort of a pivotal event.
VITALE: Before that, his writing was more or less straightforward autobiography, in such novels as "Queer" and "Junky." Afterwards, he began to write the denser, visionary prose of "Naked Lunch," "The Soft Machine," and "Nova Express." Even his autobiographical characters, like Kim Carsons in the 1984 novel "The Place of Dead Roads," became more fantastic.
: (Reading) Kim is a slimy, morbid youth of unwholesome proclivities with an insatiable appetite for the extreme and the sensational. His mother had been into table-tapping and Kim adores ectoplasms, crystal balls, spirit guides and auras. He wallows in abominations, unspeakable rites, diseased demon lovers.
VITALE: Burroughs became a magnet for artists, musicians, and wannabe hipsters. But biographer Barry Miles says the writer's influence is yet to be completely understood.
MILES: The Beats have all died - all the major ones except Lawrence Ferlinghetti - and we're now starting to be able to see them from a distance and appreciate who was really important and who wasn't. And I think Burroughs is possibly now the lead contender of someone whose work is so deep and on so many levels that we've barely started to touch him really.
VITALE: In 1983, William S. Burroughs was elected to the American Academy and Institute of Arts and Letters. He died in 1997 at the age of 83. For NPR News, I'm Tom Vitale in New York.
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