on "Howl", along with Apollinaire's "Zone", García Lorca's "Ode to Walt Whitman", and Schwitters' "Priimiititiii". The structure of Breton's "Free Union" had a significant influence on Ginsberg's "Kaddish". In Paris, Ginsberg and Corso met their heroes Tristan Tzara, Marcel Duchamp, Man Ray, and Benjamin Péret, and to show their admiration Ginsberg kissed Duchamp's feet and Corso cut off Duchamp's tie. William S. Burroughs, a core member of the Beat Generation and a postmodern novelist, developed the cut-up technique with former surrealist Brion Gysin—in which chance is used to dictate the composition of a text from words cut out of other sources—referring to it as the "Surrealist Lark" and recognizing its debt to the techniques of Tristan Tzara. Postmodern novelist Thomas Pynchon, who was also influenced by Beat fiction, experimented since the 1960s with the surrealist idea of startling juxtapositions; commenting on the "necessity of managing this procedure with some degree of care and skill", he added that "any old combination of details will not do. Spike Jones Jr., whose father's orchestral recordings had a deep and indelible effect on me as a child, said once in an interview, 'One of the things that people don't realize about Dad's kind of music is, when you replace a C-sharp with a gunshot, it has to be a C-sharp gunshot or it sounds awful.'" Many other postmodern fiction writers have been directly influenced by Surrealism. Paul Auster, for example, has translated Surrealist poetry and said the Surrealists were "a real discovery" for him. Salman Rushdie, when called a Magical Realist, said he saw his work instead "allied to surrealism". David Lynch regarded as a surrealist filmmaker being quoted, "David Lynch has once again risen to the spotlight as a champion of surrealism," in regard to his show Twin Peaks. For the work of other postmodernists, such as Donald Barthelme and Robert Coover, a broad comparison to Surrealism is common. Magic realism, a popular technique among novelists of the latter half of the 20th century especially among Latin American writers, has some obvious similarities to Surrealism with its juxtaposition of the normal and the dream-like, as in the work of Gabriel García Márquez. Carlos Fuentes was inspired by the revolutionary voice in Surrealist poetry and points to inspiration Breton and Artaud found in Fuentes' homeland, Mexico. Though Surrealism was a direct influence on Magic Realism in its early stages, many Magic Realist writers and