This chapter explores William Burroughs’ lifelong preoccupation with time as a philosophical and compositional problem, tracing its evolution from early influences such as Oswald Spengler to the yagé-induced revelations of “space-time travel” and the radical temporality of the cut-up method. Tomasz Stompor argues that Burroughs’ literary experiments – from epistolary montage to newspaper-formatted layouts – challenge the linear, regulated time of modernity and propose alternative, nonlinear temporal regimes. Drawing on the Composite City vision from The Yage Letters, Spenglerian cyclical history, and Burroughs’ self-constructed calendar inspired by Mayan systems, the chapter demonstrates how Burroughs’ formal innovations enact temporal disruption. Through analysis of his cut-up trilogy, contributions to little magazines like My Own Mag, and the spatial logic of montage, Stompor positions Burroughs as a literary time-traveler whose work seeks to liberate the reader from linguistic and chronological control.