Kathy Acker

Rich girl, street punk, lost girl and icon ... scholar, stripper, victim and media-whore- The late Kathy Acker's legend and writings are wrapped in mythologies, created mostly by Acker herself. In this first, fully authorized biography, Kraus approaches Acker both as a writer, and as a member of the artistic communities from which she emerged. At once forensic and intimate, After Kathy Ackertraces the extreme discipline and literary strategies Acker used to develop her work, and the contradictions she longed to embody. Using exhaustive archival research and ongoing conversations with mutual colleagues and friends, Kraus charts Acker's movement through some of the late 20th century's most significant artistic enterprises.

A collection of three novels from the experimental feminist writer: “Literal Madness is Acker at her most powerful, disturbing, and provocative.” —Catherine Texier, author of Victorine Kathy Goes to Haiti, the first of three novels in Literal Madness, “speaks to us out of a delightful mock-naivete that reminds one at times of the Dick and Jane readers rewritten as manuals for politics and sex . . . At once hilarious and terrifying, [it] has all the logic of a Caribbean tour and a nightmare combined” (Los Angeles Times). My Death My Life by Pier Paolo Pasolini—wherein, among other things, the late Italian filmmaker solves his own murder, with the help of, among others, Romeo, Juliet, and the Bronté sisters—is a “scathing commentary on false values in art” (The Hartford Courant). In the haunting Florida, Acker achieves “a nearly telegraphic reduction of the Bogart-Bacall movie Key Largo to fatalistic, tough-guy essentials” (Booklist). “There’s a haunting method to Acker’s ‘madness’: a rough, raw, erudite wail against the postmodern loss of meaning and emotion.” —Kirkus Reviews

A retelling of Robert Louis Stevenson’s Treasure Island, Pussy, King of the Pirates is a dizzyingly imaginative foray through world history, literature, and language itself.

Set in the near future, in a Paris devastated by revolution and disease, Empire of the Senseless is narrated by two terrorists and occasional lovers, Thivai, a pirate, and Abhor, part robot and part human. Together and apart, the two undertake an odyssey of carnage, a holocaust of the erotic. "An elegy for the world of our fathers," as Kathy Acker calls it, where the terrorists and the wretched of the earth are in command, marching down a road charted by Genet to a Marseillaise composed by Sade.

“Kathy Acker’s writing is virtuoso, maddening, crazy, so sexy, so painful, and beaten out of a wild heart that nothing can tame. Acker is a landmark writer.” —Jeanette Winterson, New York Times–bestselling author A masterpiece of surrealist fiction, steeped in controversy upon its first publication in 1984, Blood and Guts in High School is the book that established Kathy Acker as the preeminent voice of post-punk feminism. With 2017 marking the 70th anniversary of her birth, as well as the 10th year since her death this transgressive work of philosophical, political, and sexual insight—with a new introduction by Chris Kraus—continues to become more relevant than ever before. In the Mexican city of Merida, ten-year-old Janey lives with Johnny—her “boyfriend, brother, sister, money, amusement, and father” —until he leaves her for another woman. Bereft, Janey travels to New York City, plunging into an underworld of gangs and prostitution. After escaping imprisonment, she flees to Tangiers where she meets Jean Genet, and they begin a torrid affair that will lead Janey to her demise. Fantastical, sensual, and fearlessly radical, this hallucinatory collage is both a comic and tragic portrait of erotic awakening. “The girl in this story had more agency and voice than any girl I’d ever read or would read in my entire life.” —Lydia Yuknavitch, national bestselling author of Thrust “No writer I know is more audacious than Kathy Acker, whose anarchic wit drives a thoroughgoing attack on conventions and complacencies of all sorts. Not unlike Gertrude Stein in her day, Acker gives us a different way to look at the uses to which language is put.” —Lynne Tillman, author of Men and Apparitions

The author of Empire of the Senseless gives the Dickens classic a punk twist, setting it in 1980s New York City. 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. 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. 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. Switching perspectives, identities, genders, and centuries, the speaker lustily ransacks world literature to celebrate and challenge the discourse around art, love, life, and death. 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. . . . As she says in Great Expectations, “a narrative is an emotional moving.” It should be, but she’s one of the few people . . . who manage to blend that kind of warmth, gutsiness, and skill.” —Sally O’Driscoll, Village Voice “[Acker’s] most completely unified work of art. . . . 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. Burroughs

In her 10th novel, Acker's heroine, Laurie, is a woman helpless before the fury of her emotions. Love-obsessed, Laurie is plunged into a harrowing dilemma--sexuality and her feminism are the two poles that threaten to obliterate her inner poise, the false magic of her woman's identity.

Facing the trauma of an abortion, a young woman mentally escapes by setting out on a series of adventures as Don Quixote.