Kathy Acker Essays On Music

Although we shared some of the same casual boyfriends, lovers and friends, I didn’t know Kathy Acker during her lifetime. Our two brief social meetings were tinged with antipathy. Still, her work and example were important to me. Arriving in the East Village from New Zealand in the late 1970s, I read Acker’s books as if a bolder and more intelligent part of myself had written them: a broke straight girl alone in New York, confused by the mores of “the great sexual revolution” and trying to find a language that would contain all of life’s contradictions. Or, as William Burroughs put it more elegantly: “Acker gives her work the power to mirror the reader’s soul.” How does she do this? Like so many others at that place and time, I observed Acker’s ascendance to notoriety during the 1980s with a mixture of admiration, distaste and envy. She’d become famous by projecting the highly sexualised image craved by male readers; she’d fought for the right to speak to the culture by any means necessary.

I observed Acker’s ascendance to notoriety during the 1980s with a mixture of admiration, distaste and envy

But within a few years of Acker’s death from breast cancer in 1997, her literary executor Matias Viegener noticed a diminishing interest in her work. “Suddenly,” he recalled, “people were asking who she was.”

Acker was just 50 when she died, but over the course of her 27-year-long career, she’d been extremely prolific, producing a substantial and often misread body of work. Born into an upper middle class New York Jewish family, she attended an academically mediocre private girls’ school on the Upper East Side but spent her mid-teens immersed in downtown avant-garde culture with her then boyfriend. A student of the poet David Antin at University of California San Diego in the late 1960s, she caught the art world’s attention with a series of brazen and brilliant self-published chapbooks, mailed to a list of 600 people. She became famous in London in the mid-1980s as a post-punk countercultural figure, but her writing – aggressive and gossipy, wildly vernacular, but composed within rigorous formalist strategies – had been widely known and respected within international avant-garde circles for many years before that.

In the 70s Acker became the chamber novelist of downtown New York, reporting on sexual misadventures with real-life art world protagonists who were, when not named outright, recognisable to anyone who knew the cast of characters. Her art was grounded in the phenomenological experiments of the old-guard minimalist and conceptual artists, but the content of her writings – extreme pornography, diatribe, parody, politics, gossip and trash – reflected the aesthetic of her East Village peers. Acker enjoyed the support of writers and artists such as Burroughs, Sol LeWitt, Paul Buck and Rudy Wurlitzer. Her work circulated feverishly in self-published or small-press editions throughout the US and Canada, and was admired in London, Paris and beyond. On 1 April, 1984, South Bank Show host Melvyn Bragg introduced her to a much larger television audience: “What we want to look at is the hard edge of a tough, fashionable, self-conscious group, now at the top of the New York avant-garde art world. Kathy Acker and the group around her are at present leading the pack.”

Acker had moved to London a few months before in anticipation of her commercial debut with Picador, which packaged three of her earlier works – Blood and Guts in High School, Great Expectations, and My Death My Life by Piero Paolo Pasolini – in a single volume that sold out in three weeks. Her writing spoke powerfully to a disillusioned post-punk generation in Thatcher’s Britain. Writing in the NME, Don Watson succinctly summed up her appeal in the UK: “Eyes bulging from a head framed by tufts of newly bleached hair, dressed in pure white, Acker looks frail and very vulnerable standing on the ICA stage .... What she presents her audience with is in fact only herself, the rest is a jumble of vague forms, derived from the language of the official ... Where Burroughs, old enough to remember before the video age, is able to analyse it, Acker ... is able to only reflect it. Her wisdom is the wisdom of uncertainty. She is not the writer of the future, but one of the writers of the present.”

Or, as critic Michael Bracewell later reflected: “Suddenly, here is this astonishing American woman, incredibly glamorous and punky, kind of street. But obviously at the same time, talking an intellectual language that in London at that time was like being from another planet ... She did an enormous thing, which was that she single-handedly in London connected people who bought records to people who bought books. There had not been a writer, a contemporary writer living in our midst, who united the world of pop culture and music and post-punk to the world of literature, let alone to the world of critical theory.” Writing for the Face, Rosemary Bailey was more interested in the writer’s sartorial tastes: “wide, wide boiler suits over zipped and frilly nylon blouses, t-shirts exquisitely slashed, sinister silver jewellery ...”

Acker was hardly a victim of her own fame. She’d been publicly craving it for more than a decade. As she wrote in her self-published serial novel The Childlike Life of the Black Tarantula in 1973, “I was interested in ‘fame’ as one end: (1) people whose work I want to find out about would talk to me, (2) I would somehow be able to pay for food rent etc. doing something connected, (3) artists I fall in love with would fuck me.” An inheritance received from her grandmother in 1981 allowed her to enter London in style, with an apartment and wardrobe extravagant beyond the means of her writing income.

I’m very well known in England and I get tons of work. But to say they like what I do? No, they fetishise what I do

Kathy Acker

Moving between high culture and low, she performed with singer-songwriter Genesis P-Orridge and played chess with Salman Rushdie. She’d become indisputably famous in London ... but for what? Her 1986 novel Don Quixote: Which Was a Dream, composed in New York three years earlier, prompted the NME’s Duncan Webster to observe: “Acker seems most daring in her unique combination of an overblown and embarrassing romanticism (the tortured, alienated mad artist) with a reduction of culture (Cervantes, Shakespeare, Oedipus, Jane Eyre) to banality. It’s like reading some lecture notes ... written by a bored student, with genitalia and ‘I love Peter’ doodled in the margins.” Robin Chapman described it in the London Review of Books as “a dead-eyed romance, indebted to Burroughs rather than Cervantes ... There is plenty of sado-masochism, bags of centrist anarchism, and built into the text as well as the title, the enervating get-out clause that what we are reading is really just a dream for author and reader alike.”

Slams from the literary establishment only helped to enhance Acker’s renegade reputation. In London, she pursued interests in bodybuilding, BDSM, motorbiking and tattooing. Moving further to the margins of literary culture, she became an underground idol, performing with bands and aligning herself with cyberpunk and “transgressive” artists and writers. Still, she found London lonely and isolating. As she later told French literary theorist Sylvère Lotringer, “In England, the media had made this huge image of Kathy Acker. But this media image is so much this kind of sexual image. I’m very well known there and I get tons of work. But to say they like what I do? No, I wouldn’t say that. They fetishise what I do.”

In 1989, Pandora republished three of Acker’s early works from the 1970s. Like all of her books, they were textual collages. When an enterprising freelancer for Publishing News sourced a 2,000-word section to Harold Robbins’s 1974 bestseller The Pirate, he reported the “plagiarism” to Acker’s editor. A minor scandal erupted, and she was asked to sign a public apology to Robbins. Meanwhile, her New York editor contacted Burroughs, who called Harold Robbins, who told Pandora that she had his “entire permission” to use the excerpt, and that he was “shocked [that] anyone would be so ill-informed as to accuse her of plagiarism”.

To Acker, this swift resolution mattered much less than the initial betrayal. In her long essay Dead Doll Humility, she wrote that she “understood that she had lost. Lost more than a struggle about the appropriation of four pages ... Lost her belief that there can be art in this culture ... Most of the literati ... were upper middle class and detested the writer and her work ... All that matters is work and work must be created and can’t be created in isolation.”

That December, she moved back to New York and then on to San Francisco where she would remain until after her cancer diagnosis in 1996, when she moved back to London to live with the music critic Charles Shaar Murray.


When she returned to California seeking refuge toward the end of her illness, I was living in LA. Our mutual friend, the artist and writer Viegener, took charge of her care, fulfilling her wishes to receive alternative cancer treatment in Tijuana. I accompanied Sylvère, my then husband and Semiotexte collaborator, when he visited her. Sylvère and Acker had been lovers and friends in New York in the late 70s. Although I steered clear of her bedside, the image of Acker alone, without her entourage or illustrious peers, shocked me. I’d just published my first book, I Love Dick. Is this how it all ends?, I wondered. A benefit fund for her treatment raised less than $2,500. Later, Matias would tell me a story of how Acker had been reading my novel when Dick _, the book’s addressee and a former associate of Acker’s walked into her room to pay his respects, and they scrambled to hide the book under the covers. If nothing else became of the novel, I thought, this would be enough for me.

Kathy Acker’s pioneering adventures in the internet’s erogenous zone

When Acker died on 30 November, I was shattered. Even though I was sceptical about some of her later work and career choices, I’d always admired her, and felt a strong sense of crossed destinies. Almost immediately, I decided to write her biography. I went to New York, San Francisco and San Diego to interview some of her earliest friends and associates. But the timing was wrong. The few essays I published were too empathic, too sentimental. I identified with Acker in ways I had no business doing. Meanwhile, the critical response to I Love Dick became more personal than I’d ever imagined. “Is this a book review, or the concierge report?” I recall Sylvère scoffing. Given our many mutual partners and friendships, to write Acker’s biography would only reinforce these perceptions. It all seemed too incestuous. Or as Acker once wrote in another context, “endless meshes incest”. I put the interview tapes in the closet.

In 2014 I picked up the project again. This time, it was our shared cultural histories, not boyfriends, that seemed most striking. Strands of French modernist literature, Zurich Dadaism, phenomenology and performance ran through both of our writings. Our artistic histories both traced a history of western culture in the 20th century. One of Acker’s greatest achievements was her discovery of a process and language that fuse emotion and thought and that is transmitted directly to readers. The Burroughs quote haunted me. How does she do this? It became apparent that any biography of Acker must include very close readings of her work.

I Love Dick on television marks the rise of the female loser

It’s always surprised me that I Love Dick has come to be read as a foundational text in the supposedly new genre called “auto-fiction”. My strategies in writing the novel owed a great deal to Acker; her strategies borrowed from modernist fiction of all kinds, from Georges Bataille and Marguerite Duras to Beat writers such as Alexander Trocchi and Jack Kerouac. Why wasn’t her influence cited more widely? At what point had the novel become such a small thing that it dwelt on the domestic problems of fictionalised characters?

Something about Acker’s work still communicates deeply, even to those who aren’t aware of her intelligence, humour and compositional approach. Her achievements were singular, but they were not hers alone. She attained them within a larger community of writers and artists, many of whom, such as the choreographer Pooh Kaye, the musicians Jill Kroesen and Peter Gordon, the artist and publisher Leandro Katz and countless others, haven’t been given their rightful place in art history. Acker’s life can’t be described without a description of the collective soul her work emerged from.

Acker’s texts channel Peignot, Bataille and Catullus. By reading her writings very closely, I began channelling Acker.

• After Kathy Acker: A Biographyby Chris Kraus is published by Allen Lane this month.

Kathy Acker

Acker in 1984

BornKaren Alexander
(1944-04-18)April 18, 1944[1]
New York City, New York, U.S.
DiedNovember 30, 1997(1997-11-30) (aged 53)
Tijuana, Mexico
OccupationNovelist, playwright, essayist, poet
CitizenshipUnited States
Notable worksBlood and Guts in High School (novel)
Great Expectations
New York (short story)
Notable awardsPushcart Prize (1979)
SpouseRobert Acker (1966–?)
Peter Gordon (1976; annulled)

Kathy Acker (April 18, 1944[1] – November 30, 1997) was an American experimental novelist, punk poet, playwright, essayist, postmodernist and sex-positive feminist writer. She was influenced by the Black Mountain School poets, the writer William S. Burroughs, the artist and theoretician David Antin, French critical theory, feminist artists Carolee Schneeman and Eleanor Antin, and by philosophy, mysticism, and pornography.[2]


The biological daughter of Donald and Claire (née Weill) Lehman, Kathy Acker was born Karen Alexander in New York City. There is some question as to her year of birth, 1947; the Library of Congress lists her birth year as 1948, but most obituaries state that she was born in 1944.[1] The pregnancy was unplanned; Donald Lehman abandoned the family before Karen's birth. Her stepfather's name, Albert Alexander, appears on the birth certificate. Her relationship with her domineering mother even into adulthood was fraught with hostility and anxiety because Acker felt unloved and unwanted. Her mother soon remarried, to Albert Alexander, whose surname Kathy was given, although the writer later described her mother's union with Alexander as a passionless marriage to an ineffectual man.[3] Acker was raised in her mother and stepfather's home on New York's prosperous Upper East Side. In 1978, Claire Alexander, Karen's mother, committed suicide.[4][5]

In 1966, she married Robert Acker, and changed her last name from Alexander to Acker. Although her birth name was Karen, she was known as Kathy by her friends and family. Her first work appeared in print as part of the burgeoning New York City literary underground of the mid-1970s. Like other young women struggling to be writers and artists, she worked for a few months as a stripper, and listening to the stories of women so different from those she had known before profoundly influenced her early work, and changed her understanding of gender and power relationships.

During the 1970s she often moved back and forth between San Diego, San Francisco and New York. She married the composer and experimental musician Peter Gordon shortly before the end of their seven-year relationship.[6] Later, she had relationships with theorist, publisher, and critic Sylvère Lotringer and then with filmmaker and film theorist Peter Wollen.

In 1996, Acker left San Francisco and moved to London to live with writer and music critic Charles Shaar Murray.[7]

She married twice. While most of her relationships were with men she was openly bisexual.[citation needed]

In 1979 she won the Pushcart Prize for her short story "New York City in 1979". During the early 1980s she lived in London, where she wrote several of her most critically acclaimed works. After returning to the United States in the late 1980s she worked as an adjunct professor at the San Francisco Art Institute for about six years and as a visiting professor at several universities, including the University of Idaho, the University of California, San Diego, University of California, Santa Barbara, the California Institute of Arts, and Roanoke College.[citation needed]

Health and death[edit]

In April 1996 Acker was diagnosed with breast cancer and she elected to have a double mastectomy. In January 1997 she wrote about her loss of faith in conventional medicine in a Guardian article, "The Gift of Disease".[8]

In the article, she explains that after unsuccessful surgery, which left her feeling physically mutilated and emotionally debilitated, she rejected the passivity of the patient in the medical mainstream and began to seek out the advice of nutritionists, acupuncturists, psychic healers, and Chinese herbalists. She found appealing the claim that instead of being an object of knowledge, as in Western medicine, the patient becomes a seer, a seeker of wisdom, that illness becomes the teacher and the patient the student. However, after pursuing several forms of alternative medicine in England and the United States, Acker died a year and a half later from complications of cancer in a Tijuana, Mexico alternative cancer clinic, the only alternative-treatment facility that accepted her with her advanced stage of cancer.[9]

She died in Room 101, to which her friend Alan Moore quipped, "There's nothing that woman can't turn into a literary reference;" Room 101, in the climax of George Orwell's Nineteen Eighty-Four, is the basement torture chamber in which the Party attempts to subject a prisoner to his or her own worst fears.[10]


At Brandeis University she engaged in undergraduate coursework in Classics at a time when Angela Davis was also at the university. She became interested in writing novels, and moved to California to attend University of California, San Diego where David Antin, Eleanor Antin, and Jerome Rothenberg were among her teachers. She received her bachelor's degree in 1968. After moving to New York, she attended two years of graduate school at the City University of New York in Classics, specializing in Greek. She did not earn a graduate degree. During her time in New York she was employed as a file clerk, secretary, stripper, and porn performer.[2]

Literary overview[edit]

Acker was associated with the New York punk movement of the late 1970s and early 1980s. The punk aesthetic influenced her literary style.[11]

Back in the '70s before the term "postmodernism" was popular, Acker began writing her books. These books contain features that would eventually be considered postmodernist work. [12]

Her controversial body of work borrows heavily from the experimental styles of William S. Burroughs and Marguerite Duras. Her writing strategies at times used forms of pastiche and deployed Burroughs's cut-up technique, involving cutting-up and scrambling passages and sentences into a somewhat random remix. Acker defined her writing as existing post-nouveau roman European tradition.[13]

In her texts, she combines biographical elements, power, sex and violence. Indeed, critics often compare her writing to that of Alain Robbe-Grillet and Jean Genet. Critics have noticed links to Gertrude Stein and photographers Cindy Sherman and Sherrie Levine. Acker's novels also exhibit a fascination with and an indebtedness to tattoos.[14] She dedicated Empire of the Senseless to her tattooist.

Acker published her first book, Politics, in 1972. Although the collection of poems and essays did not garner much critical or public attention, it did establish her reputation within the New York punk scene. In 1973, she published her first novel (under the pseudonym Black Tarantula), The Childlike Life of the Black Tarantula: Some Lives of Murderesses. The following year she published her second novel, I Dreamt I Was a Nymphomaniac: Imagining. Both works are reprinted in Portrait of an Eye.[15]

In 1979, she received popular attention when she won a Pushcart Prize for her short story "New York City in 1979". She did not receive critical attention, however, until she published Great Expectations in 1982. The opening of Great Expectations is a clear re-writing of Charles Dickens's classic of the same name. It features her usual subject matter, including a semi-autobiographical account of her mother's suicide and the appropriation of several other texts, including Pierre Guyotat's violent and sexually explicit "Eden Eden Eden". That same year, Acker published a chapbook, entitled Hello, I'm Erica Jong.[13]

Acker has appropriated from a number of influential writers. These writers include Charles Dickens, Nathaniel Hawthorne, John Keats, William Faulkner, T.S Eliot, Charlotte and Emily Brontë, Marquis de Sade, Georges Bataille, and Arthur Rimbaud. [16]

Acker wrote the script for the 1983 film Variety.[17] Acker wrote a text on the photographer Marcus Leatherdale that was published in 1983, in an art catalogue for the Molotov Gallery, Vienna.[18]

In 1984, Acker's first British publication, the novel Blood and Guts in High School was published soon after its publication by Grove Press in New York.[19]

That same year, she was signed by Grove Press, one of the legendary independent publishers committed to controversial and avant-garde writing; she was one of the last writers taken on by Barney Rosset before the end of his tenure there. Most of her work was published by them, including re-issues of important earlier work. She wrote for several magazines and anthologies, including the periodicals RE/Search, Angel Exhaust, monochrom and Rapid Eye. As she neared the end of her life, her work was more well received by the conventional press; for example, The Guardian published a number of her essays, interviews and articles, among them was an interview with the Spice Girls.[2]

Acker's In Memoriam to Identity draws attention to popular analyses of Rimbaud's life and The Sound and the Fury, constructing or revealing social and literary identity. Although known in the literary world for creating a whole new style of feminist prose and for her transgressive fiction, she was also a punk and feminist icon for her devoted portrayals of subcultures, strong-willed women, and violence. [13]

Notwithstanding the increased recognition she got for Great Expectations, Blood and Guts in High School is often considered Acker's breakthrough work. Published in 1984, it is one of her most extreme explorations of sexuality and violence. Borrowing from, among other texts, Nathaniel Hawthorne's The Scarlet Letter, Blood and Guts details the experiences of Janey Smith, a sex addicted and pelvic inflammatory disease-ridden urbanite who is in love with a father who sells her into slavery. Many critics criticized it for being demeaning toward women, and Germany banned it completely. Acker published the German court judgment against Blood and Guts in High School in Hannibal Lecter, My Father.

Acker’s works consistently go back to scenes of sadistic violence, rape, incest, masochistic pain, and sexual abjection of different varieties. [20]

Acker published Empire of the Senseless in 1988 and considered it a turning point in her writing. While she still borrows from other texts, including Mark Twain's The Adventures of Huckleberry Finn, the appropriation is less obvious. However, one of Acker's more controversial appropriations is from William Gibson's 1984 text, Neuromancer, in which Acker equates code with the female body and its militaristic implications. The novel comes from the voices of two terrorists, Abhor, who is half human and half robot, and her lover Thivai. The story takes place in the decaying remnants of a post-revolutionary Paris. Like her other works, Empire of the Senseless includes graphic violence and sexuality.[citation needed]

In 1988 she published Literal Madness: Three Novels, which included three previously published works: Florida deconstructs and reduces John Huston's 1948 film noir classic Key Largo into its base sexual politics, Kathy Goes to Haiti details a young woman's relationship and sexual exploits while on vacation, and My Death My Life by Pier Paolo Pasolini provides a fictional autobiography of the Italian filmmaker in which he solves his own murder.[citation needed]

Between 1990 and 1993, she published four more books: In Memoriam to Identity (1990); Hannibal Lecter, My Father (1991); Portrait of an Eye: Three Novels (1992), also composed of already published works; and My Mother: Demonology (1992). Her last novel, Pussy, King of the Pirates, published in 1996, showed signs of Acker's broadening interests as it incorporates more humor, lighter fantasy and a consideration of Eastern texts and philosophy that was largely absent in her earlier works.[citation needed]

Posthumous reputation[edit]

Three volumes of her non-fiction have been published and re-published since her death. In 2002, New York University staged Discipline and Anarchy, a retrospective exhibition of her works,[21] while in 2008 London's Institute of Contemporary Arts screened an evening of films influenced by Acker.[22]

A collection of essays on Acker's work, Lust For Life: On the Writings of Kathy Acker, edited by Carla Harryman, Avital Ronell, and Amy Scholder, was published by Verso in 2006 and includes essays by Nayland Blake, Leslie Dick, Robert Glück, Carla Harryman, Laurence Rickels, Avital Ronell, Barrett Watten, and Peter Wollen.[23] In 2009, the first collection of essays to focus on academic study of Acker, Kathy Acker and Transnationalism was published.

In 2007, Amandla Publishing re-published Acker's articles that she wrote for the New Statesman from 1989–91.[24]Grove Press published two unpublished early novellas in the volume Rip-Off Red, Girl Detective and The Burning Bombing of America, and a collection of selected work, Essential Acker, edited by Amy Scholder and Dennis Cooper in 2002.[25][26]

In 2015, Semiotext(e) published I'm Very Into You, a book of Acker's email correspondence with media theorist McKenzie Wark, edited by Matias Viegener, her executor and head of the Kathy Acker Literary Trust.[27] Her personal library is housed in a reading room at the University of Cologne in Germany, and her papers are divided between NYU's Fales Library and the Rubenstein Rare Book and Manuscript Library at Duke University.

In 2017, the American writer and artist Chris Kraus published After Kathy Acker: A Literary Biography, the first book-length biography of Acker's life experiences and literary strategies.[28][29][30]

Published works[edit]

  • Politics (1972)
  • Childlike Life of the Black Tarantula By the Black Tarantula (1973)
  • I Dreamt I Was a Nymphomaniac: Imagining (1974)
  • Adult Life of Toulouse Lautrec (1978)
  • Florida (1978)
  • Kathy Goes To Haiti (1978)
  • N.Y.C. in 1979 (1981)
  • Great Expectations (1983)
  • Algeria : A Series of Invocations Because Nothing Else Works (1984)
  • Blood and Guts in High School (1984)
  • Don Quixote: Which Was a Dream (1986)
  • Literal Madness: Three Novels (Reprinted 1987)
  • My Death My Life by Pier Paolo Pasolini
  • Wordplays 5 : An Anthology of New American Drama (1987)
  • Empire of the Senseless (1988)
  • In Memoriam to Identity (1990)
  • Hannibal Lecter, My Father (1991)
  • My Mother: Demonology (1994)
  • The Stabbing Handspoken word guest appearance on alternate mix of song by Oxbow included on reissues of albumLet Me Be a Woman(1995)[31]
  • Pussycat Fever (1995)
  • Dust. Essays (1995)
  • Pussy, King of the Pirates (1996)
  • Bodies of Work : Essays (1997)
  • Portrait of an Eye: Three Novels (Reprinted 1998)
  • Redoing Childhood (2000) spoken word CD, KRS 349.
  • Rip-Off Red, Girl Detective (pub. 2002 from manuscript of 1973)

See also[edit]


Further reading[edit]

  • "no one can find little girls any more: Kathy Acker in Australia" (1997). Documentary film by Jonathan and Felicity Dawson. Griffith University, 90 minutes. Footage from this film is included in Who's Afraid of Kathy Acker? A documentary by Barbara Caspar
  • Devouring Institutions: The Life Work of Kathy Acker, ed. Michael Hardin (Hyperbole/San Diego State University Press: 2004). DEVOURING INSTITUTIONS
  • Lust for Life: On the Writings of Kathy Acker, ed. Carla Harryman, Avital Ronell, and Amy Scholder (Verso, 2006)
  • Kathy Acker and Transnationalism, ed. Polina Mackay and Kathryn Nicol (Cambridge Scholars, 2009)
  • I'm Very into You: Correspondence 1995--1996, by Kathy Acker and McKenzie Wark, edited by Matias Viegener (Semiotext(e), 2017)
  • After Kathy Acker: A Literary Biography, by Chris Kraus (Semiotext(e), 2017)
  • Pérez, Rolando. “What is Don Quijote/Don Quixote And…And…And the Disjunctive Synthesis of Cervantes and Kathy Acker”, Cervantes ilimitado: cuatrocientos años del Quijote. Ed. Nuria Morgado. ALDEEU, 2016. pp. 75–100.

External links[edit]

  • Magill, Mark (Summer 1983). "Artists in Conversation: Kathy Acker". BOMB. 6. 
  • Kathy Acker (host) and William S. Burroughs (guest) (14 July 2011). Kathy Acker interviews William S. Burroughs at the October Gallery, London (1988) Part 1 (Video). magivanga.wordpress.com via YouTube. Part 2 · Part 3
  • Friedman, Ellen G. (Fall 1989). "A Conversation with Kathy Acker". The Review of Contemporary Fiction. Dalkey Archive Press. 9 (3). 
  • Acker, Kathy (3 May 1997). "All Together Now". The Guardian.  Acker interview with the Spice Girls.
  • Sirius, R.U. (December 1997). "Kathy Acker: Where does she get off?". io magazine: the digital magazine of literary culture (college magazine). 2. North Atlantic Books. 
  • Macaulay, Scott (29 January 2008). "Rotterdam: Who's Afraid of Kathy Acker? (review)". Filmmaker Magazine. Independent Filmmaker Project. 
  • Acker, Kathy (Summer 2009). "Writing as Magic in London in Its Summer: Iain Sinclair and the Crafting of Place". Vertigo. Close Up Film Centre. 4 (3). 
  • "Kathy Acker recordings". ubu.com. UbuWeb Sound. 
  • "Kathy Acker recordings". writing.upenn.edu. PennSound. 
  • Works by or about Kathy Acker in libraries (WorldCat catalog)
  • "Kathy Acker Papers, 1972–1997 and undated", at Duke University
  1. ^ abc"Kathy Acker, Novelist and Performance Artist, 53". The New York Times. December 3, 1997. Retrieved August 5, 2017. 
  2. ^ abc"Guide to the Kathy Acker Notebooks, 1968-1974". Fales Library and Special Collections. New York University. Retrieved August 12, 2017. 
  3. ^Kraus, Chris (2017). After Kathy Acker. Cambridge: MIT Press. ISBN 9781635900064. Retrieved February 6, 2018. 
  4. ^Laing, Olivia (August 31, 2017). "After Kathy Acker by Chris Kraus review – sex, art and a life of myths" – via www.theguardian.com. 
  5. ^"Kathy Acker: Critical Essays". eNotes.com. 
  6. ^Wynne-Jones, Ros (September 13, 1997). "Interview: Kathy Acker: Written on the Body". The Independent UK. Retrieved August 12, 2017. 
  7. ^Kraus, Chris (August 11, 2017). ""Cancer Became My Whole Brain": Kathy Acker's Final Year". The New Yorker. Retrieved August 12, 2017. 
  8. ^Kathy Acker (January 18, 1997). "The gift of disease". The Guardian (original publisher, posted on Outward from Nothingness). Retrieved September 27, 2017. 
  9. ^Kraus, Chris (2017-08-11). ""Cancer Became My Whole Brain": Kathy Acker's Final Year". The New Yorker. ISSN 0028-792X. Retrieved 2018-03-09. 
  10. ^Crispin, Jessa (October 2006). "An interview with Neil Gaiman". bookslut.com. Bookslut. Retrieved August 4, 2017. 
  11. ^Kraus, Chris (2017). After Kathy Acker. Cambridge: MIT Press. ISBN 9781635900064. Retrieved August 12, 2017. 
  12. ^[McCaffery, Larry, and Kathy Acker. “An Interview with Kathy Acker.” Mississippi Review, vol. 20, no. 1/2, 1991, pp. 83–97. JSTOR, JSTOR, www.jstor.org/stable/20134512.]
  13. ^ abcKraus, Chris (2017). After Kathy Acker. Cambridge: MIT Press. ISBN 9781635900064. Retrieved January 12, 2018. 
  14. ^Staff (October 1996). "Brief in English: Kathy Acker in Helsinki". Ylioppilaslehti (student magazine). Helsinki, Finland: University of Helsinki. 
  15. ^Acker, Kathy (1997). Portrait of an Eye: Three Novels. New York: Grove Press. ISBN 0802135439. Retrieved January 12, 2018. 
  16. ^Hawkins, Susan E. “All in the Family: Kathy Acker's ‘Blood and Guts in High School.’” Contemporary Literature, vol. 45, no. 4, 2004, pp. 637–658. JSTOR, JSTOR, www.jstor.org/stable/3593544.
  17. ^Stevenson, Jack (October 31, 2010). "Haunted Cinema: Movie Theatres of the Dead". Bright Lights Film Journal. 70. 
  18. ^Acker, Kathy; Leatherdale, Marcus (1983). Marcus Leatherdale: His photographs – a book in a series on people and years. Vienna, Austria: Molotov. ISBN 9783950370317. OCLC 719286533. 
  19. ^Kraus, Chris (November 9, 2017). "Kathy Acker's Blood And Guts in High School". The Paris Review. 
  20. ^[Hawkins, Susan E. “All in the Family: Kathy Acker's ‘Blood and Guts in High School.’” Contemporary Literature, vol. 45, no. 4, 2004, pp. 637–658. JSTOR, JSTOR, www.jstor.org/stable/3593544.]
  21. ^"Press release – Discipline and Anarchy: The Works of Kathy Acker". NYU News (student newspaper). New York University. October 31, 2002. Archived from the original on March 1, 2010. 
  22. ^Stevens, Andrew (December 28, 2007). "Looking back at Kathy Acker". The Guardian. London, UK. 
  23. ^Scholder, Amy (2006). Lust For Life: On the Writings of Kathy Acker. New York: Verso. ISBN 184467066X. Retrieved January 12, 2018. 
  24. ^"Amandla Publishing: Kathy Acker". Amandla. Retrieved October 12, 2017. 
  25. ^Acker, Kathy (2002). Rip-Off Red, Girl Detective and The Burning Bombing of America. New York: Grove Press. ISBN 0802139205. Retrieved January 12, 2018. 
  26. ^Acker, Kathy (2002). Essential Acker. New York: Grove Press. ISBN 0802139213. Retrieved January 12, 2018. 
  27. ^Crawford, Ashley. "Kathy Acker & McKenzie Wark review: Their emails are fascinating and ghoulish". The Sydney Morning Herald. Retrieved August 4, 2017. 
  28. ^Laing, Olivia (August 31, 2017). "After Kathy Acker by Chris Kraus review – sex, art and a life of myths". theguardian.com. 
  29. ^Cooke, Rachel (September 4, 2017). "After Kathy Acker: A Biography by Chris Kraus review – baffling life study". theguardian.com. 
  30. ^"After Kathy Acker: the life and death of a taboo-breaking punk writer". newstatesman.com. Retrieved January 12, 2018. 
  31. ^Wenner, Niko (March 2009). "About "Acker Sound/Read All Over" (blog)". myspace.com/nikowenner/blog. Myspace. Archived from the original on 2012-11-30. 


Leave a Reply

Your email address will not be published. Required fields are marked *