Queer – William S. Burroughs
I approached “Queer” with genuine curiosity, determined to read William S. Burroughs’ semi-autobiographical text before seeing its film adaptation. Written in the 1950s but not published until 1985, its title and themes were bold for an era when such writing could result in blacklisting.
All that to say, it’s easy to see why this novella hasn’t garnered the acclaim or legacy of James Baldwin’s “Giovanni’s Room” — it’s, objectively speaking, not very good.
From the start, “Queer” felt exhausting.
The 25th-anniversary edition’s lengthy introduction by Oliver Harris, combined with Burroughs’ original preface, occupies nearly 40% of the audiobook and, though occasionally insightful, feels more like a lecture than a companion piece.
Harris explored the novella’s troubled history — written during Burroughs’ protracted literary contract negotiations and in the aftermath of his wife’s death (caused by his own hand) — but these insights do little to elevate the work, and reeked of self-importance.
For the story itself, it follows William Lee, Burroughs’ stand-in, as he drifts aimlessly through Mexico City’s 1950s expatriate scene, pursuing his infatuation with a younger man, Allerton. The narrative is sparse, meandering and populated with underdeveloped characters who appear and vanish without much consequence.
Lee’s interactions are peppered with racist and homophobic slurs, reflective of the time but unnecessary to the story, detracting from any meaningful exploration of his inner life.
Occasionally, the novella touches on universal themes, such as loneliness and unrequited love. At its best, it captures the pain of yearning for someone who cannot or will not return your feelings. Unfortunately, these moments are buried beneath layers of bluster, resulting in a character you can’t root for.
Thematically, “Queer” explores addiction — both to substances and to people. Lee’s obsession with Allerton mirrors his attempt to quit drugs, portraying vice as both a crutch and a curse. Yet the exploration of these ideas feels shallow. It’s a snapshot of a man drowning in sin and self-destruction, but it lacks the depth needed to make that journey compelling.
The audiobook, narrated by T. Ryder Smith and Andrew Garmin, was competent but unremarkable. By the end, I was simply relieved to be finished.
This novella has solidified my disinterest in Burroughs and, perhaps, in the Beat Generation as a whole. As for the film adaptation, I’ll take a pass – I’ve given this story enough of my time.
Rating (story): 1/5 stars
Rating (narration): 3/5 stars
Format: Audiobook (library loan)
Dates read: January 18 – January 20, 2025
Multi-tasking: While I cannot recommend this novella in any format, audio is really the only way to go if you want to soldier through, but be forewarned: it’s often confusing thanks to Burroughs’ disjointed and frenetic writing style.
