William S. Burroughs

William S. Burroughs was a man the 20th century didn't quite know what to do with, and by most accounts he preferred it that way. Born in 1914 into St. Louis wealth, grandson of an adding machine magnate and Harvard-educated, he had every credential for a respectable life and spent the next eight decades working against the possibility of one. He became a heroin addict, a world drifter, an occultist, a gun obsessive, and one of the stranger literary minds America produced in the last century. His writing, most famously Naked Lunch, reads less like a novel than a provocation: nonlinear, grotesque, hallucinatory, shaped in part by years of opiate withdrawal. His "cut-up" technique, developed with artist Brion Gysin, treated language itself as a kind of control system to be disrupted. The idea was to slice up text, rearrange it at random, and let something truer surface. Whether it worked is beside the point. He wasn't doing it as a stunt. That quality, the sense that he wasn't performing transgression so much as genuinely inhabiting it, is what tends to get softened in retrospect. He believed in curses, practiced magic, briefly took up Scientology before calling it "just another control-addict trip," and maintained that shooting his common-law wife Joan Vollmer in 1951 was the work of a demonic presence he called the Ugly Spirit. His writing, in his telling, was partly an attempt to reckon with that. He's been claimed by the Beats, absorbed by punk, cited by cyberpunk, and eventually canonized by the literary establishment he spent most of his life pushing against. It's the kind of ending he might not have had much patience for.