Publicação
Troubling textualities: insubordinate politics and conflicted complicity in the work of Kathy Acker (1978-1988)
| Resumo: | Kathy Acker (1937-1997) was a celebrated experimental writer, who found a striking degree of commercial and critical success in the mid-1980s. Born and primarily based in the U.S., Acker managed to trace a creative and professional trajectory across the Atlantic, becoming an esteemed author - and often, a minor celebrity - both in the U.S. and in the U.K. Her book-length, novelistic experiments challenged the tenets of the contemporary novel, powerfully subverting encoded expectations and dominant definitions of narrative form, of authorial intent, and of literary creativity. Often grouped with post-modernist contemporaries, Acker's work both expresses something of that historical moment and surprises its convened temporality, producing imaginative pathways across various counter-traditions of innovative and oppositional literature. Variously described as pornographic, feminist, plagiaristic, violent, transformative, queer, punk, bad or derivative, her writing holds a compelling force of its own, and attests to a distinctive ethos of transgression. This project departs from extant understandings of Acker's work and the various ways it has been valued and rememorated across time - especially as the anniversary of both her birth and her death was celebrated in 2017. Recognizing these more recent processes of recollection and rememoration across various media and discursive contexts, this project unequivocally situates itself amidst an ongoing reassessment of the capacities and potentialities of Acker's body of work. However, unlike most contemporary discussions of Acker's writing, this project holds that her standing as a radically committed writer demands increased – rather than decreased – scrutiny into the more normative impulses of her work. While emphasizing the multiple ways her writing disrupted normalized structures of meaning and understanding, we must also probe into those moments where it reiterated, repeated, and reasserted the political fictions of hegemony and dominion. Three categories prove indispensable to this confrontation with the defining limits of Acker’s work: race, gender, and sexuality. With a strong intersectional emphasis, the present project suggests readings of three of Acker's novels: Kathy Goes to Haiti (1978), Blood and Guts in High School (1984) and Empire of the Senseless (1988). Tracing a comparative critical trajectory across the three texts, it evinces the inevitable contradictions of Acker's writing, and attempts to widen the scope of present conversations about the politics and poetics of her work. |
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| Autores principais: | Lourenço, Daniel Filipe Honório |
| Assunto: | Acker, Kathy, 1948-1997 - Crítica e interpretação Acker, Kathy, 1948-1997 - Temas, motivos Acker, Kathy - 1948-1997 . Kathy goes to Haiti Acker, Kathy - 1948-1997 . Blood and Guts in High School Acker, Kathy - 1948-1997 . Empire of the Senseless Romance experimental americano - séc.20 - História e crítica Literatura - Mulheres escritoras Literatura comparada Literatura queer - História e crítica Teses de doutoramento - 2022 |
| Ano: | 2022 |
| País: | Portugal |
| Tipo de documento: | tese de doutoramento |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Lisboa |
| Idioma: | inglês |
| Origem: | Repositório da Universidade de Lisboa |
| Resumo: | Kathy Acker (1937-1997) was a celebrated experimental writer, who found a striking degree of commercial and critical success in the mid-1980s. Born and primarily based in the U.S., Acker managed to trace a creative and professional trajectory across the Atlantic, becoming an esteemed author - and often, a minor celebrity - both in the U.S. and in the U.K. Her book-length, novelistic experiments challenged the tenets of the contemporary novel, powerfully subverting encoded expectations and dominant definitions of narrative form, of authorial intent, and of literary creativity. Often grouped with post-modernist contemporaries, Acker's work both expresses something of that historical moment and surprises its convened temporality, producing imaginative pathways across various counter-traditions of innovative and oppositional literature. Variously described as pornographic, feminist, plagiaristic, violent, transformative, queer, punk, bad or derivative, her writing holds a compelling force of its own, and attests to a distinctive ethos of transgression. This project departs from extant understandings of Acker's work and the various ways it has been valued and rememorated across time - especially as the anniversary of both her birth and her death was celebrated in 2017. Recognizing these more recent processes of recollection and rememoration across various media and discursive contexts, this project unequivocally situates itself amidst an ongoing reassessment of the capacities and potentialities of Acker's body of work. However, unlike most contemporary discussions of Acker's writing, this project holds that her standing as a radically committed writer demands increased – rather than decreased – scrutiny into the more normative impulses of her work. While emphasizing the multiple ways her writing disrupted normalized structures of meaning and understanding, we must also probe into those moments where it reiterated, repeated, and reasserted the political fictions of hegemony and dominion. Three categories prove indispensable to this confrontation with the defining limits of Acker’s work: race, gender, and sexuality. With a strong intersectional emphasis, the present project suggests readings of three of Acker's novels: Kathy Goes to Haiti (1978), Blood and Guts in High School (1984) and Empire of the Senseless (1988). Tracing a comparative critical trajectory across the three texts, it evinces the inevitable contradictions of Acker's writing, and attempts to widen the scope of present conversations about the politics and poetics of her work. |
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