Bodies of Work: Essays - Kathy Acker - Google Books.
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The most fitting caution I’ve heard about reading Kathy Acker is that you must really desire to read, to read actively, to engage with each paragraph or sentence, or even word. Why? Because Acker’s texts communicate dis-ease, disturbing you, breaking the walls between book and reader; comfort and ease are not elements of Acker’s writing.
Chris Kraus’s After Kathy Acker gives readers a long-awaited account of the experimental writer as a living, breathing, fucking, and frequently, sick human being. Masterful in detail, drawing on deep archival sources and interviews, Kraus’s account grounds Acker’s project in the physical environments of late-20th-century New York, California, and London.
As evidenced in this selection, Kathy Acker’s Empire of the Senseless screams postmodernism with a blatant rejection of grammatical conventions and linear tradition and an impassioned engagement with contemporary political issues.
Spanning many forms—novels, plays, and essays—Kathy Acker’s work is hard to classify. Above all, Acker aims to challenge established literary conventions, and she does so by experimenting with methods of cut-up (inspired by William S. Burroughs), mash-up, sampling, and transposition.
Kathy Acker “I’m very into you” is a collection of email exchanges between Kathy Acker and McKenzie Wark. Acker was a writer who died two years after these emails were composed, Wark is a media theorist who teaches at The New School.
Peace to my sick home, city of AIDS or the death of love. (Empire 168)As evidenced in this selection, Kathy Acker’s Empire of the Senseless screams postmodernism with a blatant rejection of grammatical conventions and linear tradition and an impassioned engagement with contemporary political issues.
Empire of the Senseless Kathy Acker. Kathy Acker was an American novelist born on April 18, 1947 in New York City. As a child, she felt restrained by societal expectations and gender norms; Ackner never fit into the typical mold of how a “lady” should act.
In April, 1996, just before her forty-ninth birthday, the writer Kathy Acker had a routine biopsy of a small lump she’d discovered in her left breast.
Other posts on the site.
I, I, I, I, I, I, I Kathy Acker is temporarily closed until further notice. Please check the venue's website for the latest details. The first UK exhibition dedicated to the American writer Kathy Acker and her written, spoken and performed work comes to the ICA.
In 1972, American postmodern writer Kathy Acker self-published a chapbook entitled Politics, a blunt, jumpy account of the brief time she spent performing in a 42nd Street sex show.It was stylistically different from Acker’s later work—more free verse than prose, for one thing—but its obsessive, hyberbolic anatomization of sex and power established the subject that would define her.
An excerpt from Chris Kraus’s forthcoming literary biography of the late writer Kathy Acker, who died of cancer in 1997.
I, I, I, I, I, I, I, Kathy Acker begins with a timeline of Acker’s published works, offering an insight into the layered ways in which Acker approached the circulation of her writing; at times self-publishing and self-distributing, as well as re-versioning texts as they appeared in different magazines and journals and as sections within her novels.
Politics (1972) Politics was Kathy Acker’s first work, written when she was 21, and is somewhere between poetry and prose. It was written in New York while she was working in strip shows and shows the early influence of the Black Mountain Poets and William Burroughs.
The last time I saw Kathy Acker was in London, in July 1997. I wasn’t sure how she felt about me at that point. I had failed to drop everything to be with her in San Francisco the year before, and I had failed to make a job materialise that would have brought her to Sydney, as she wanted.
A Poetics of Plagiarism: The Case of Kathy Acker. Claudia Cao. Abstract. After a brief introduction on the literary production of Kathy Acker and a brief overview on some essays where she shows the relation between writing and power, and between writing and desire.
A collection of her essays Bodies of Work was published in 1996. Acker died of cancer in Tijuana in 1997. Alan Sondheim (b. 1942) is a poet, critic, musician, artist and theorist, whose work has pursued the depths of cyberspace and the effects of the virtual on the real for the last 40 years.