This chapter reevaluates William Burroughs’ cut-up fictions through the lens of repetition, textual variation, and the limits of intertextual theory. Benoît Delaune argues that Burroughs’ compositional method – especially in The Soft Machine, The Ticket That Exploded, and Nova Express – exceeds traditional literary frameworks such as Kristeva’s intertextuality or Genette’s transtextuality. Drawing on the restored editions of Burroughs’ work and early collaborations like Minutes to Go, the chapter shows how Burroughs employed chance procedures alongside careful editorial strategy to create complex recursive networks of affective resonance. Rather than merely remixing texts, Burroughs generated a form of material autotextuality that destabilizes meaning, challenges linear reading, and undermines authorial intention. Through comparisons to avant-garde practices in music and poetry, Delaune situates Burroughs’ writing as a radical alternative to literary production – a practice that treats language as sensory and viral, foregrounding affect, repetition, and disruption over interpretation or reference.