William S. Burroughs & Brion Gysin “All God’s Children Got Space” Green Scrapbook, c. 1971-1973INTERVIEWER: How did you become interested in the cut-up technique? BURROUGHS: A friend, Brion Gysin, an American poet and painter, who has lived in Europe for thirty years, was, as far as I know, the first to create cut-ups. His cut-up poem, Minutes to Go, was broadcast by the BBC and later published in a pamphlet. I was in Paris in the summer of 1960; this was after the publication there of Naked Lunch. I became interested in the possibilities of this technique, and I began experimenting myself. Of course, when you think of it, The Waste Land was the first great cut-up collage, and Tristan Tzara had done a bit along the same lines. Dos Passos used the same idea in ‘The Camera Eye’ sequences in USA. I felt I had been working toward the same goal; thus it was a major revelation to me when I actually saw it being done. (via)
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William S. Burroughs & Brion Gysin
“All God’s Children Got Space”
Green Scrapbook, c. 1971-1973

INTERVIEWER: How did you become interested in the cut-up technique?
BURROUGHS: A friend, Brion Gysin, an American poet and painter, who has lived in Europe for thirty years, was, as far as I know, the first to create cut-ups. His cut-up poem, Minutes to Go, was broadcast by the BBC and later published in a pamphlet. I was in Paris in the summer of 1960; this was after the publication there of Naked Lunch. I became interested in the possibilities of this technique, and I began experimenting myself. Of course, when you think of it, The Waste Land was the first great cut-up collage, and Tristan Tzara had done a bit along the same lines. Dos Passos used the same idea in ‘The Camera Eye’ sequences in USA. I felt I had been working toward the same goal; thus it was a major revelation to me when I actually saw it being done. (via)

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