身為美國五○年代的垮掉的一代文學潮的重要成員之一,威廉‧布洛斯承襲了一種法術與宗教的詩學,此乃源自於遠古巫術,以及諾斯提教之異教教義的聖經那格哈馬帝之古抄本中。設若威廉‧布洛斯的小說新星三部曲的巫術觀點為西方文明所曲解,他的看法仍是忠於巫術之召喚,仍是指向一條通往文化以及個人的心靈復原之路。本文闡述威廉‧布洛斯與南美的巫術主義之間的緊密關係,並檢視他作品中的幾位主要角色:班威醫生原是一位江湖巫醫,後轉變為一位誆騙藝術者;相對的,檢察長李則從哄騙者成為一位導人以正途的巫師;而伯得利先生,亦同時是馬丁先生,則代表諾斯提教的反派造物主。因此,本文分析了諾斯提教派的作品〈論世界的起源〉,並據此比較威廉‧布洛斯與諾斯提教派對時間概念的相通處,也強調其刻意的文句與概念的重新拼湊,乃是一種從語言之毒中解放出來的一種神諭式的敘述技巧。
William S. Burroughs is the inheritor of a magico-religious poetics stemming from ancient shamans and informed by the Gnostic heresies found in the Nag-Hammadi Library. If, in Burroughs's Nova Trilogy shamanic vision is twisted by the Western cultural matrix, however, it is in a way that, true to a genuine shamanic calling, points the way toward cultural and individual healing. I demonstrate the novelist's close connections to South American shamanism, and read key characters in Burroughs's ”oeuvre”, Dr. Benway as the unredeemed shaman, the shaman as con artist; Inspector Lee as the con-artist turned shaman; and Mr. Bradley-Mr. Martin as the Gnostic Demiurge. I then analyze the Gnostic work ”On the Origin of the World” to show parallels between Burroughsian and Gnostic conceptions of time, and examine the cut-up as an oracular strategy for liberation from the virus of language.