Burroughs’s work spans both modernist and postmodern positions simultaneously

Evidence

In postmodernity, anyone can be a writer; no one can be totally free. In direct contradiction to Burroughs’s central advocacy of modernity’s utopian, unmediated, universal, psychic-artistic-individualistic liberation, he also writes from within a postmodern practice and ideology—multiple, cyborg, hybrid, immersed in popular culture, particularist, subcultural, minoritarian, global, limited, partial, ordinary, complicit, collaborationist. — Marianne DeKoven, Utopia Limited, 607

Categorization

• recurring: this claim recurs 2 times within its source
• XREF: connects to: Sixties texts are now dated precisely by straddling modern and postmodern paradigms — Marianne DeKoven, Utopia Limited: The Sixties and the…, 89; Paradise Now embodies both modernist totality and postmodern local particularity at once — Marianne DeKoven, Utopia Limited: The Sixties and the…, 551; Democratization as a core commitment makes avant-garde practice postmodern, not modernist — Marianne DeKoven, Utopia Limited: The Sixties and the…, 1095 (+4 more)

Broader Connections

• Realist and modernist traces persist within postmodern culture. #corroborates (0.80)
• Certain modernist precursors already contained what became postmodern #corroborates (0.75)
• Modernist allusion and postmodern pastiche were indistinguishable in the sixties #exemplifies (0.75) — Marianne DeKoven, Utopia Limited, 663
• Burroughs’ cut-up texts prefigured twenty-first-century media’s emotional manipulation #expands (0.72) — Mark Fisher (edited by Darren Ambrose), K-Punk, 1336