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.Rather than trying to createAcker throws a literary molotov cocktail into the a new language or get beyond existing language,traditional family structure, and her so-called rap- Acker simply expressed what is forbidden in theist is a sadist to her willing masochist.Part two ex- language.This has often been misconstrued asplores the same themes of oppression, but this time pornography and vulgarity, but Acker felt that shethe father is not a sexual predator.Rather, he is was simply laying bare the horrifying reality thata character named Mr.Linker, but metaphorically lies beneath the surface of so-called civilized so-Mr.Linker is at least two manifestations of the ciety.For her, incest, rape, and S&M relationshipsMan : a pimp who forces Janey into white slav- are merely metaphors for political and economicery as well as a doctor who controls her mind.For realities in capitalistic societies.Where BurroughsAcker, Mr.Linker is the embodiment of the larger tried to dismantle these realities by literally muti-culture, which includes but is not limited to the lating what he saw as the Man s most powerfulfather, the political system, the capitalist economy, tool language Acker saw that this was futile.the public education system, the church, and even Her more sophisticated cut-ups are not mutila-the academy.In part three, the father is language tions but revelations; they cut away at what is Bomb 21Semiotext(e) Native Agents Series.New York:taboo by speaking the taboo, as well as speakingSemiotext(e), 1991.through taboo.Scholder, Amy. Editor s Note. Essential Acker.NewBlood and Guts anticipates these revelations.York: Grove Press, 2002.The most obvious example is Janey Smith s bookSiegle, Robert. Kathy Acker: The Blood and Guts ofreport near the middle of the novel.ThroughGuerilla Warfare. Suburban Ambush: DowntownJaney, Acker rewrites Nathaniel Hawthorne sWriting and the Fiction of Insurgency.Baltimore: TheThe Scarlet Letter.The classic novel, which wasJohns Hopkins University Press, 1989.written by a white, male literary father and hasWinterson, Jeanette. Introduction. Essential Acker.arguably reached the realm of myth in AmericanNew York: Grove Press, 2002.culture, becomes a cut-up dismantling Acker sWollen, Peter. Don t Be Afraid to Copy It Out. Londonown childhood, her own myth of western letters,Review of Books 20, no.3 (February 1998): Avail-the culture s myth of Hester Prynne, the myth ofable online.URL: http://www.lrb.co.uk/v20/n03/formal education, Acker s disappointment in thewoll0_.html.Accessed May 31, 2006.American political system; her reromanticiza-tion of America, and her rewriting of yet anotherBebe Barefootliterary myth, Nathaniel Hawthorne these allform a labyrinthine automythography of bothAcker and Hawthorne that transcends time andspace.In addition, her appropriations of Haw- Bomb Gregory Corso (1958) Bomb was written by GREGORY CORSO in Paris inthorne s and other texts are a taste of what is to1957 and was first published in 1958 as a broad-come with her next novel, Great Expectations, inside by City Lights in San Francisco.The poemwhich she blatantly plagiarizes Charles Dickens swas subsequently printed as a foldout in Corso sclassic text.collection The HAPPY BIRTHDAY OF DEATH (NewKathy Acker is best understood if all of herDirections, 1960). Bomb is a pattern poem, thatworks are read as one work, and Blood and Gutsin High School sets the stage for her lifelong fugue- is, the printed shape is in the outline of the subjectthe poem describes, in this case the characteristiclike textual performance.The novel should be readmushroom-formed cloud created by the explosionwithin the context of her larger project.To dismissof an atomic bomb.The mushroom shape of theit as juvenile or nihilistic, as some critics have, istext may also be seen as a visual metaphor suggest-to misread and misunderstand Kathy Acker.Sheis not or was not nihilistic; rather, she ran into so- ing the parasitic nature of the bomb and of deathitself, which in the poem is embodied in the bomb.ciety s nihilism and began to deconstruct it as sheContrary to what might be expected of a liter-reconstructed by remythologizing, and she did sothrough her automythography.For Acker, the per- ary treatment of this grim topic, which was writtenduring the height of the cold war in the late 1950s,sonal is indeed political.Corso s Bomb is neither solemn nor angry noranxious but is, instead, imbued with a wild, irrever-Bibliographyent humor.Indeed, the poem is not as might beAcker, Kathy.Bodies of Work.New York: Serpent s Tail,supposed a protest or a dire prediction, a denun-1997.ciation of or a diatribe against the atomic bomb but . Me Talking About Me folder.Typescript ofrather a delirious declaration of love for it! An Informal Interview with Kathy Acker on theCorso s paean to the bomb proceeds in part2nd April 1986 by F.J.Ellis, Carolyn Bird, Dawnfrom his assumed role as jester and prankster, gad-Curwen, Ian Mancor, Val Ogden, and Charlesfly and maverick, clown and contrarian.In thisPatrick.Box 4.Kathy Acker Papers.Rare Book,sense, the poem is written in mischievous defi-Manuscript, and Special Collections Library.Dukeance of the solemnity surrounding the subject andUniversity.Lotringer, Sylvère. Devoured by Myths [ Pobierz caÅ‚ość w formacie PDF ]
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.Rather than trying to createAcker throws a literary molotov cocktail into the a new language or get beyond existing language,traditional family structure, and her so-called rap- Acker simply expressed what is forbidden in theist is a sadist to her willing masochist.Part two ex- language.This has often been misconstrued asplores the same themes of oppression, but this time pornography and vulgarity, but Acker felt that shethe father is not a sexual predator.Rather, he is was simply laying bare the horrifying reality thata character named Mr.Linker, but metaphorically lies beneath the surface of so-called civilized so-Mr.Linker is at least two manifestations of the ciety.For her, incest, rape, and S&M relationshipsMan : a pimp who forces Janey into white slav- are merely metaphors for political and economicery as well as a doctor who controls her mind.For realities in capitalistic societies.Where BurroughsAcker, Mr.Linker is the embodiment of the larger tried to dismantle these realities by literally muti-culture, which includes but is not limited to the lating what he saw as the Man s most powerfulfather, the political system, the capitalist economy, tool language Acker saw that this was futile.the public education system, the church, and even Her more sophisticated cut-ups are not mutila-the academy.In part three, the father is language tions but revelations; they cut away at what is Bomb 21Semiotext(e) Native Agents Series.New York:taboo by speaking the taboo, as well as speakingSemiotext(e), 1991.through taboo.Scholder, Amy. Editor s Note. Essential Acker.NewBlood and Guts anticipates these revelations.York: Grove Press, 2002.The most obvious example is Janey Smith s bookSiegle, Robert. Kathy Acker: The Blood and Guts ofreport near the middle of the novel.ThroughGuerilla Warfare. Suburban Ambush: DowntownJaney, Acker rewrites Nathaniel Hawthorne sWriting and the Fiction of Insurgency.Baltimore: TheThe Scarlet Letter.The classic novel, which wasJohns Hopkins University Press, 1989.written by a white, male literary father and hasWinterson, Jeanette. Introduction. Essential Acker.arguably reached the realm of myth in AmericanNew York: Grove Press, 2002.culture, becomes a cut-up dismantling Acker sWollen, Peter. Don t Be Afraid to Copy It Out. Londonown childhood, her own myth of western letters,Review of Books 20, no.3 (February 1998): Avail-the culture s myth of Hester Prynne, the myth ofable online.URL: http://www.lrb.co.uk/v20/n03/formal education, Acker s disappointment in thewoll0_.html.Accessed May 31, 2006.American political system; her reromanticiza-tion of America, and her rewriting of yet anotherBebe Barefootliterary myth, Nathaniel Hawthorne these allform a labyrinthine automythography of bothAcker and Hawthorne that transcends time andspace.In addition, her appropriations of Haw- Bomb Gregory Corso (1958) Bomb was written by GREGORY CORSO in Paris inthorne s and other texts are a taste of what is to1957 and was first published in 1958 as a broad-come with her next novel, Great Expectations, inside by City Lights in San Francisco.The poemwhich she blatantly plagiarizes Charles Dickens swas subsequently printed as a foldout in Corso sclassic text.collection The HAPPY BIRTHDAY OF DEATH (NewKathy Acker is best understood if all of herDirections, 1960). Bomb is a pattern poem, thatworks are read as one work, and Blood and Gutsin High School sets the stage for her lifelong fugue- is, the printed shape is in the outline of the subjectthe poem describes, in this case the characteristiclike textual performance.The novel should be readmushroom-formed cloud created by the explosionwithin the context of her larger project.To dismissof an atomic bomb.The mushroom shape of theit as juvenile or nihilistic, as some critics have, istext may also be seen as a visual metaphor suggest-to misread and misunderstand Kathy Acker.Sheis not or was not nihilistic; rather, she ran into so- ing the parasitic nature of the bomb and of deathitself, which in the poem is embodied in the bomb.ciety s nihilism and began to deconstruct it as sheContrary to what might be expected of a liter-reconstructed by remythologizing, and she did sothrough her automythography.For Acker, the per- ary treatment of this grim topic, which was writtenduring the height of the cold war in the late 1950s,sonal is indeed political.Corso s Bomb is neither solemn nor angry noranxious but is, instead, imbued with a wild, irrever-Bibliographyent humor.Indeed, the poem is not as might beAcker, Kathy.Bodies of Work.New York: Serpent s Tail,supposed a protest or a dire prediction, a denun-1997.ciation of or a diatribe against the atomic bomb but . Me Talking About Me folder.Typescript ofrather a delirious declaration of love for it! An Informal Interview with Kathy Acker on theCorso s paean to the bomb proceeds in part2nd April 1986 by F.J.Ellis, Carolyn Bird, Dawnfrom his assumed role as jester and prankster, gad-Curwen, Ian Mancor, Val Ogden, and Charlesfly and maverick, clown and contrarian.In thisPatrick.Box 4.Kathy Acker Papers.Rare Book,sense, the poem is written in mischievous defi-Manuscript, and Special Collections Library.Dukeance of the solemnity surrounding the subject andUniversity.Lotringer, Sylvère. Devoured by Myths [ Pobierz caÅ‚ość w formacie PDF ]