Publishers Weekly - Publisher's Weekly
In an introduction, Burroughs observes that he wrote this heretofore unpublished picaresque novel in 1951, well before Naked Lunch established his reputation. He reveals that the book had its genesis in a terrible event: his accidental shooting to death of his wife, Joan, a tragedy that released the black wellsprings of his talent. The narrative recounts the hallucinatory life of William Lee, an American in Mexico City in the 1940s and his journey to Ecuador with his reluctant lover, Eugene Allerton, in search of the drug Yage. Lee is Burroughs after the killing, weighed down by guilt, drugs, lust and despair; seeking lethe. Admirerers will find an early exposition of Burroughs's later themes here, as well as a strain of gallows humor. The work is almost cinematic as it unfolds; the author is not yet experimenting with the meaninglessness of language, and, indeed it is thin in both thought and expression. This is the first of a series of Burroughs's works to be issued by Viking. Foreign rights: Andrew Wylie Agency. November
Library Journal
Burroughs has contracted with Viking Penguin for seven books to be issued over the next five years. Queer , the first of these, was originally written in 1951, but has never before been published. Stylistically similar to Junky , it claims the same protagonist, Lee, who in this work is experiencing a period of intense withdrawal from heroin. He is disintegrated, unsure of himself and his purpose, given to emotional excess. He is obsessed with sex, yet even more craves attention. To satisfy this craving he invents rather frantic ``routines'' designed to shock and amuse his companions. While Queer may seem tame in comparison to Burroughs's later work, it is important for the insight it offers about his development as a writer. His lengthy introduction should be of particular interest to both readers and scholars. David W. Henderson, Eckerd Coll. Lib., St. Petersburg, Fla.
From the Publisher
Praise for William S. Burroughs:
“A creator of grim fairy tales for adults, Burroughs spoke to our nightmare fears and, still worse, to our nightmare longings . . . More than any other postwar wordsmith, he bridged generations; popularity in the youth culture is greater now than during the heady days of the Beats.”—Los Angeles Times Book Review
“Of all the Beat Generation writers, William S. Burroughs was the most dangerous . . . He was anarchy’s double agent, an implacable enemy of conformity and of all agencies of control-from government to opiates.”—Rolling Stone
“Burroughs’s voice is hard, derisive, inventive, free, funny, serious, poetic, indelibly American.”—Joan Didion
“William was a Shootist. He shot like he wrote—with extreme precision and no fear.”—Hunter S. Thompson
“The most important writer to emerge since World War II . . . For his sheer visionary power, and for his humor, I admire Burroughs more than any living writer, and most of those who are dead.”—J. G. Ballard
“Burroughs seems to revel in a new medium . . . A medium totally fantastic, spaceless, timeless, in which the normal sentence is fractured, the cosmic tries to push its way through the bawdry, and the author shakes the reader as a dog shakes a rat.”—Anthony Burgess
Library Journal - BookSmack!
Borroughs's second novel, this was written in 1952 but not released until 1985. Set in early 1950s Mexico, the autobiographical story follows recovering junkie William Lee (Kerouac heads know that Burroughs appears as Bull Lee in a number of Jack's books) as he bar hops with other ugly American expatriates. Lee falls in love with another man, which leads to his downfall. This 25th-anniversary edition restores previously deleted passages and includes notes on the text and the author's original intro. Mike Rogers, "Classic Returns," Booksmack! 10/7/10
