William Burroughs’s “Time” [bootleg]
Roy Pennington
1972
William Burroughs’s “Time” [bootleg]
William Burroughs’s “Time” [bootleg]
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In our recent artist’s book exhibition, Naked Lunch, we explored why William S. Burroughs’s novel continues to exert a peculiar magnetism over artists and bibliophiles alike.   In 1962, stung by a hostile review published ...
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William Burroughs’s “Time” [bootleg]
Roy Pennington
1972
Brighton: Urgency Press Rip-Off
Unpaginated [32 pages]
33 × 20.5 cm
Edition of 5 runs of 99 copies each

In our recent artist’s book exhibition, Naked Lunch, we explored why William S. Burroughs’s novel continues to exert a peculiar magnetism over artists and bibliophiles alike.


 


In 1962, stung by a hostile review published in Time, Burroughs responded not with a rebuttal but through an act of artistic détournement. Published by C Press, his altered version of Time lay somewhere between an artist’s book and a political pamphlet: a fractured publication in which the logic of the cut-up method became a critical tool in its own right. Burroughs’s booklet was so radically iconoclastic that seven years later, British artist Roy Pennington issued an unauthorized second edition and distributed it at the Bickershaw Festival as an underground artifact and a performative gesture against media manipulation. 


 


Discover more about the mystique surrounding Burroughs’s collectibles, and how the author himself found his way into the world of artist’s books, in the Naked Lunch exhibition catalogue, available in our EXHIBITIONS section.

Brighton: Urgency Press Rip-Off
Unpaginated [32 pages]
33 × 20.5 cm
Edition of 5 runs of 99 copies each

In our recent artist’s book exhibition, Naked Lunch, we explored why William S. Burroughs’s novel continues to exert a peculiar magnetism over artists and bibliophiles alike.

 

In 1962, stung by a hostile review published in Time, Burroughs responded not with a rebuttal but through an act of artistic détournement. Published by C Press, his altered version of Time lay somewhere between an artist’s book and a political pamphlet: a fractured publication in which the logic of the cut-up method became a critical tool in its own right. Burroughs’s booklet was so radically iconoclastic that seven years later, British artist Roy Pennington issued an unauthorized second edition and distributed it at the Bickershaw Festival as an underground artifact and a performative gesture against media manipulation. 

 

Discover more about the mystique surrounding Burroughs’s collectibles, and how the author himself found his way into the world of artist’s books, in the Naked Lunch exhibition catalogue, available in our EXHIBITIONS section.

DESCRIPTION

In our recent artist’s book exhibition, Naked Lunch, we explored why William S. Burroughs’s novel continues to exert a peculiar magnetism over artists and bibliophiles alike.

 

In 1962, stung by a hostile review published in Time, Burroughs responded not with a rebuttal but through an act of artistic détournement. Published by C Press, his altered version of Time lay somewhere between an artist’s book and a political pamphlet: a fractured publication in which the logic of the cut-up method became a critical tool in its own right. Burroughs’s booklet was so radically iconoclastic that seven years later, British artist Roy Pennington issued an unauthorized second edition and distributed it at the Bickershaw Festival as an underground artifact and a performative gesture against media manipulation. 

 

Discover more about the mystique surrounding Burroughs’s collectibles, and how the author himself found his way into the world of artist’s books, in the Naked Lunch exhibition catalogue, available in our EXHIBITIONS section.

Brighton: Urgency Press Rip-Off
Unpaginated [32 pages]
33 × 20.5 cm
Edition of 5 runs of 99 copies each

In our recent artist’s book exhibition, Naked Lunch, we explored why William S. Burroughs’s novel continues to exert a peculiar magnetism over artists and bibliophiles alike.

 

In 1962, stung by a hostile review published in Time, Burroughs responded not with a rebuttal but through an act of artistic détournement. Published by C Press, his altered version of Time lay somewhere between an artist’s book and a political pamphlet: a fractured publication in which the logic of the cut-up method became a critical tool in its own right. Burroughs’s booklet was so radically iconoclastic that seven years later, British artist Roy Pennington issued an unauthorized second edition and distributed it at the Bickershaw Festival as an underground artifact and a performative gesture against media manipulation. 

 

Discover more about the mystique surrounding Burroughs’s collectibles, and how the author himself found his way into the world of artist’s books, in the Naked Lunch exhibition catalogue, available in our EXHIBITIONS section.

MORE BOOKS

In our recent artist’s book exhibition, Naked Lunch, we explored why William S. Burroughs’s novel continues to exert a peculiar magnetism over artists and bibliophiles alike.

 

In 1962, stung by a hostile review published in Time, Burroughs responded not with a rebuttal but through an act of artistic détournement. Published by C Press, his altered version of Time lay somewhere between an artist’s book and a political pamphlet: a fractured publication in which the logic of the cut-up method became a critical tool in its own right. Burroughs’s booklet was so radically iconoclastic that seven years later, British artist Roy Pennington issued an unauthorized second edition and distributed it at the Bickershaw Festival as an underground artifact and a performative gesture against media manipulation. 

 

Discover more about the mystique surrounding Burroughs’s collectibles, and how the author himself found his way into the world of artist’s books, in the Naked Lunch exhibition catalogue, available in our EXHIBITIONS section.

MORE BOOKS