In what follows, I take up these potentials for materialist criticism and editing in relation to The Yage Letters (1963), a text published four years after Naked Lunch (and to which Loranger makes passing reference in her final paragraph). The fact that her comparison, in effect, inverts the genetic relation between texts affirms once again that the value of this approach goes beyond analysis of individual works to embrace the intertextual relations between them. In the case of Burroughs, whose texts are a manifest bricolage of materials recycled across the oeuvre, such relations add up to a virtual limit-case, a nightmare of infinitely open-ended intertextuality. A complete analysis, in other words, lies far beyond the horizon of this essay.