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Acker
rewrites texts, layering them against history (not so much plagiarism as
rereading). “Myself
or any occurrence is a city through which I can wander,” Acker writes to
describe her method.
One of America’s preeminent experimental writers and her books are cult
classics.
"Acker's articles, once rallying cries to foreign allies, are now part of a progressive
underground history that lays bare the roots of today's artistic and political battles." -- The
Review of Contemporary Fiction.
January
11. New York City. The isolatoes of, not the art world, for they have been
deadened by money and fame, but those at the peripheries of the art world, weird
film directors, and poor comic makers. "Bob" worshippers and neo-neoists
are beginning to appear at Max Fish, a combination club-gallery-bar, actually a
hole in the Lower East Side. Happiness is beginning.
-- "Kathy Acker, At The Edge of the
New" January 19, 1990.
According
to not-so-recent myth and cliche, New York City is the centre of the American,
if not European art world. San Francisco was the original home of the love
generation, the hippies, and a few years later, had so large a gay populace that
a local magazine, in an attempt to list the gay bars in the city, name every bar
outside the havens of businessmen. Today, art in San Franciso, though not in New
York City, means the fight agains censorship that the United States government
is increasingly succeeding in implementing. -- "Kathy Acker, Sense and
Censorship"
July 20, 1990.
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