The later works of William S. Burroughs have attracted less attention than his earlier writings. By the 1980s, Burroughs was living off his reputation more than his art. He was living in an abandoned YMCA in Manhattan, hanging out in his orgone accumulator and talking to ghosts. He was also hanging out in CBGB’s with Patti Smith who claimed she admired him so much because he was so difficult to get into bed. Well y’know Patti, a gay junky pushing 70 probably isn’t the best horse to bet on, even if you are a woman with hairy armpits (see the cover of her Easter LP).But he hadn’t been forgotten. Musicians in the punk and first wave industrial music scenes had taken interest in him and his earlier works remained perennial classics in the underground art and literary scenes. He was in desperate need of money so he decided to revive his career. The Nova Convention brought him back into the public eye and he even did an introduction for the opening of a Saturday Night Live episode. Along with this he published a trilogy of novels that were not entirely palatable to most readers of the time. But Burroughs being Burroughs has never been specific to one particular time or place. It may be time for a novel like The Place of Dead Roads to be reconsidered, especially considering our current political climate.
William S. Burroughs always defied categories. Whether he could be classified as a Beat Generation or a science-fiction author can be infinitely debatable. Burroughs would have advised you to not waste time on such distinctions since categories are arbitrary by nature. But you can’t deny that, up to a certain point, this novel is a western. But, just as much, it is a science-fiction novel although nobody else has ever written science-fiction the way Burroughs did. In fact no one else every wrote a western the way he did either. But neither of these categories hold since it could just as well be a work of surrealism, romanticism, pulp crime, gay fictions, utopianism, dystopianism, postmodernism, or anything else you could possibly think of. Burroughs is just a category unto himself.
But true to his own style, his 1980s novels defy his own niche that he created in the earlier years of his writing. Most of his earlier works had no plot or character development. They were mostly series of dream sequences and vignettes with characters that extended no further than what they did in each scene. On the other hand, in The Place of Dead Roads there is both plot and character development. This is definitely new territory for this most unconventional of all unconventional authors.
Kim Carsons is a young man who inherits a plot of rural land after his parents die. When arriving in the nearest town, he buys an arsenal of guns which get excessively described in pornographic detail. The eroticism of guns is firmly established early in the story. Kim brings another boy to his rustic cabin and the two look over his guns before having sex. Soon after, Kim goes out to the woods, sets up targets, and begins shooting. While doing so, a faun appears and then they have sex. But the sex is a kind of foreplay for gun shooting which they do in between bouts of intercourse.
Kim begins to attract a group of followers, all male and gay. They indulge freely in carnal pleasures and have gun fights with those who don’t respect them, primarily homophobic bullies and Christians who won’t leave them alone. They also practice sex magic rituals in which ejaculations function like guns, shooting psychically charged deadly venom at their visualized enemies, killing them from a distance without leaving a trace of evidence. The boys quickly gain a reputation for being outlaws and expert shootists who should never be messed with. They dub themselves the Johnson Gang and live by an ethos of everyone minding their own business. This means they demand the freedom to live close to nature, far from the modern world of technology, where they can indulge in sex and drugs. Anybody who intrudes on them has basically signed their own death certificate. The descriptions are explicit and brutal; Burroughs writes about violence with as much passion as he writes about guns and sex. To the chagrin of most feminists, this novel is a celebration of phallo-centrism to an extreme and the vision is one of a masculine society free from the presence of women. Burroughs doesn’t express any animosity towards women. It’s just that they barely exist in the world he writes about.
One interesting passage near the beginning, when Burroughs describes Kim’s childhood and relationship with his artist father, involves the boy writing a science-fiction story and submitting it to Boy’s Life magazine for publication. The story is about some half-human/half-giant insect creatures on a search and destroy mission in a jungle river gorge on Venus. (This passage seems to parallel a chapter in Cities Of the Red Night where the pirates invade Panama City) This bizarre story is so far from anything that would ever be published in the vanilla teenage magazine that it serves to illustrate how distant Kim feels from boring, mainstream America at the onset of his adolescence. Incidentally, Kim travels to Venus in some later chapters of this novel.
Later on, Kim leaves his rural property and travels around America, sometimes with the Johnson Gang and sometimes without them. He liaises with various members of an underground network of gay criminals. Sometimes he is involved with hit jobs on the Mafia. The already thin plot begins to wear even thinner. But then we hear from a visitor from outer space whose space ship crash landed in the desert and released a virus into the world. This takes on significance later.
Meanwhile, Kim travels to Europe and begins working as a secret agent, taking on different identities as he goes along. If you think you can read any Burroughs novel without getting thoroughly confused at some point, you are wrong. It becomes hard to tell when Kim is Kim acting under an assumed identity and when a character isn’t Kim at all. Watching him change personas is like watching a blackjack dealer shuffle a deck of cards; you can briefly see what each card is but they go by so fast they all blur together. Even more disorienting is the way Kim can be at a dinner party with spies in France one minutes, then he opens a door and comes out as someone different in Morocco. Any sense of linearity or stability of character disappears. We get led around the world to Burroughs’ favorite haunts like Ecuador, Colombia, London, Paris, and Tangier. Kim shoots up heroin and methadone, visits exotic weapons dealers in North African bazaars, receives coded messages from secret agents in Gibraltar, and goes to a high level drug dealer’s party and gets seduced by a woman who changes sexes. All the while he’s probably some kind of secret agent being contacted by entities in outer space. Who knows what it all amounts to, but the hallucinatory nature of it all makes you question if Burroughs is expressing the feeling of shifting in and out of altered states of consciousness while using drugs.
The most baffling passage is when Kim is living on Venus with his boyfriend. The two live together in a cabin that is described as being similar to the cabin he inhabits in Missouri at the beginning of the novel. This kind of overlapping is a key feature in many of Burroughs’ writings. He leaves to walk around a tourist resort which he at first says is in Egypt, but as he goes away, unauthorized, from the designated resort, he wanders into a nightmarish world where he finds houses full of dwarfs. Centipedes are emerging from the dwarfs’ heads and shedding them as if the little men are cocoons for the monster insects. Kim can do nothing but shoot them and burn the place down. It’s hard to interpret this, but centipedes show up throughout most of Burroughs’ writings as symbols of fear and anxiety. The dwarfs, being small men of slight stature, give birth to this symbol of fear possible meaning that it is the people of lesser value who unleash the most evil into the world.
By destroying these monstrous creatures, Kim is eliminating something that makes his world terrible. Furthermore, the incomprehensibility of the scenario illustrates what it feels like to live in a world where you can’t connect with others, and in fact wouldn’t want to, and feel nothing but alienation, disconnection, and confusion. It is a hostile and incomprehensible place. You can see why a gay heroin addict, and one who had difficulty even relating to other gay men, would feel a desire to destroy everything that creates the psychological oppression of dread, This is a sadistic, ultraviolent fantasy of a man who wants to live someplace where he can be left alone in peace. The extreme violence of Burroughs’ writing is like an artillery shield that protects a vulnerable man from everything that seeks to destroy him. If you read Burroughs carefully, he does express ideas of what it would be like to live in a peaceful and beautiful world. It is a world without persecution and one where everybody minds their own business.
Another baffling passage comes near the end when Kim, in the guise of a secret agent, gets assigned to visit the desert crater where the aforementioned space ship landed. It is secretly guarded by the American military because the last surviving ancestors of the missing link live there. They are the vectors that came between earlier primates and the human species, the vectors that contracted the virus that mutated into human language. Burroughs always had a thing for viruses and his hypothesis that viruses are used by entities from outer space to control humans is lifted directly from Scientology. Actually, if you think about it, language does bear a superficial similarity to a virus in that it survives and replicates by moving from host to host. It is through language that bad ideas spread throughout society, sometimes in the form of memes as Richard Dawkins defines them. A junky high on heroin can lie for days in bed without thinking a single thought. In the absence of language, they would be impermeable to any ideas bad or good. It would be like a womb of silence without any intrusions from words, similar to the way that the Johnson Gang lives on their private plot of land without any intrusions from the outside. This would be an appealing state to be in when confronted by a hostile and alien world that seeks to destroy you for no other purpose than that is what the world does. Life is a killer. Rub out the word. In any case, the primates in the crater let out a virus that spreads to the nearby military base and presumably beyond. How Burroughs got us from a farm in Missouri populated exclusively by gay outlaws to a crater in the desert populated by the missing link is far from clear. But that’s just the way William S. Burroughs rolls.
These are the easiest themes to digest in this novel. There are so many others that it would be impossible to interpret all of it. You don’t have to pursue every element that enters into the story though; in a Joycean sense, you can only grasp on to whatever you can and let everything else flow by especially when everything else is as appealing as vomit and raw sewage. In fact, the worst part of this book is that it is so jam packed (fudge packed?) with information that you might feel exhausted before getting to the end. But what a wild ride it is.
Burroughs’ final novels deserve some reconsideration. If the lack of traditional literary formulas frustrated you when reading his earlier works, The Place of Dead Roads might be a good place to pick up Burroughs again. It is more structured and fine tuned without losing any of the transgressive qualities that made his writing so notorious to begin with. Maybe readers in the 1980s weren’t ready for this kind of book. Maybe they still aren’t. Maybe someday the human race will catch up to this genius writer. Maybe by then everybody will have learned to mind their own business. We aren’t there yet.