You know and we’ve always had fellow travelers, people who move with us as opposed to the sellout fiction world, weird experimental artists and writers. And it made a baggy loose space, a trans form where poets could meet everybody. Bernadette Mayer was the poet who coined the “writer” term at that time. Kathy was doing what people in the poetry world then called “writing.” Meaning they refused genre, they didn’t not write poems they just didn’t like calling them anything that specific. This poet Mike Sappol who was also in a band said Kathy aka the Black Tarantula is who I should be reading I don’t know I just think you’d like her.
I first heard about Kathy in a workshop at St.
One that by its formal concentration and its unified shape at every depth of reading fulfills the sort of demands that Sterne or Canetti makes of the novelist." -Alain Robbe-Grillet "A postmodern Colette with echoes of Cleland's Fanny Hill." -William S.I’ve already written two versions of this intro and now I think I’m just giving up and I’ll talk to you direct. who manage to blend that kind of warmth, gutsiness, and skill." -Sally O'Driscoll, Village Voice " most completely unified work of art. . . . As she says in Great Expectations, "a narrative is an emotional moving." It should be, but she's one of the few people . . . Praise for Great Expectations " Great Expectations in its boisterousness and strong language and sense of the injustice-of-it-all is closely related to Henry Miller." -Carolyn See, Los Angeles Times "Acker's most accomplished experimental work. . . . Switching perspectives, identities, genders, and centuries, the speaker lustily ransacks world literature to celebrate and challenge the discourse around art, love, life, and death. At the center of this form-shifting narrative, Acker's protagonist collects an inheritance following her mother's suicide, which compels her to revisit and reinterpret traumatic scenes from the past. Here, she begins rewriting Charles Dickens's classic-splicing it with passages from Pierre Guyotat's sexually violent Eden, Eden, Eden, among other texts-alongside Acker's trademark pithy dialogue, as well as prank missives to the likes of Susan Sontag, Sylvère Lotringer, and God. Kathy Acker's practice of literary appropriation and pastiche made her notorious-as a rebel and a groundbreaker-when Great Expectations was first published in 1982.
The author of Empire of the Senseless gives the Dickens classic a punk twist, setting it in 1980s New York City.
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