Ultimately in The Yage Letters, Burroughs confronts the 'mechanisms of control' through the creation of his own cartographic landscape. He escapes these ‘mechanisms’ through his writing which reveals an 'open cosmos' and '[slips] out of time' recalling Gysin's creation of a 'hole in the texture of so-called “reality”’ . Burroughs' identification with painters such as Gysin is given recurring importance by critics such as Oliver Harris, who notably mentions Paul Klee's 'Indiscretion' as Burroughs' interpretation of his 'Composite City' vision in Everything Lost. However, whereas painting seems to be the point of focus in the analysis of Burroughs' yagé visions, the author's assimilation of his visionary experience with text is often overlooked. In his text, Burroughs conveys the exploration of his consciousness, and of the different realities, the maps and the territories, created through his literary act. Finally, Burroughs' cartography and language conjoin to compose a textual testimony to the archival nature of The Yage Letters for the rest of the author's oeuvre.