威廉・布洛斯散文詩學的探究：從《裸體午餐》到「剪貼三部曲」

An Examination of William S. Burroughs’Prose-Poetics, from Naked Lunch to the Cut-up Trilogy

儘管威廉・布洛斯（William S. Burroughs）的同儕與友人中多為詩人，例如艾倫・金斯堡（Allen Ginsberg）、葛瑞格里・柯索（Gregory Corso）、黛安・迪・普里瑪（Diane di Prima）、約翰・喬諾（John Giorno）與鮑勃・考夫曼（Bob Kaufman），他也經常引用亞瑟・蘭波（Arthur Rimbaud）、夏爾・波特萊爾（Charles Baudelaire）、聖約翰・佩斯（Saint-Jean Perce）與T. S.艾略特（T. S. Eliot）等詩人的影響，然而布洛斯仍以反叛者與小說家的身分為世人所知。本文從他幾部更具跨類型特質的出版作品出發，探討其創作中的詩性元素與實驗精神，從《裸體午餐》（1959）延伸至「剪貼三部曲」（1961-68），特別關注布洛斯如何透過激進的散文詩學手法，挑戰並批判傳統文學形式。布洛斯在《Minutes to Go》（1960）與《Electronic Revolution》（1970）等文本中直接發出的行動呼籲，顯示他將激進的詩性實踐與政治行動主義結合。他在《The Third Mind》中提出的結論：「所有寫作其實都是剪貼。是閱讀、聽聞、偶然聽到的語詞拼貼」（Burroughs and Gysin 32），其更指出在實際操作中，他混合了不同形式、方法與文類，將書頁與即時聽到的語言連結起來。布洛斯的剪貼作品在節奏、韻律與語法上的安排皆表明其作品並非完全隨機的實驗，而是經過細緻編排、刻意呈現詩意的創作。本文旨在重新定位布洛斯的作品，將其視為激進詩性實踐的範例，而非僅僅是無涉政治的散文實驗。

Despite the predominance of poets, for example Allen Ginsberg, Gregory Corso, Diane di Prima, John Giorno and Bob Kaufman, among his Beat peers and friends, and frequent references to the influence of poetry on his work through references to the work of Arthur Rimbaud, Charles Baudelaire, Saint-Jean Perce and T.S. Eliot, William Burroughs’primary status as an iconoclast and writer of novels endures. This article considers the poetic features and experimentalism of his work through an examination of his more genre-defying publications, beginning with Naked Lunch (1959) and continuing through the Cut-up trilogy (1961-68). Specifically, it will explore the ways in which Burroughs’experiments employ radical prose-poetics to critique conventional forms. Burroughs’direct calls to action with texts such as Minutes to Go (1960) and Electronic Revolution (1970) can be seen to conflate radical poetic practice with political activism. Indeed, Burroughs’conclusion that“All writing is in fact cut-ups. A collage of words read heard overheard”(Burroughs and Gysin 32), points to a practical conflation of different forms, practices and genres that connect the page with words heard in real-time. The rhythm, cadence, and syntax of Burroughs’cut-up works demonstrate that they do not employ an entirely aleatory practice, but are carefully arranged, deliberately poetic compositions. This examination of Burroughs’poetic-prose and experimental practice aims to re-situate his works as examples of radical poetic practice rather than apolitical prose experiments.