"I got an e-mail from somebody one day saying, “I understand you’re a friend of Kathy Acker’s. She’s currently dying in a hospital in Mexico.” I immediately e-mailed the UK and said, “She’s dying in a hospital in Mexico,” and a mutual friend of mine and Charlie’s, a guy named Igor, said, “She’s not dying, she’s just got flu, I checked around. She’s in San Francisco with flu, she’s just being a drama queen.” So I wrote back to the guy who said she’s dying and said I’m told she’s the flu in San Francisco, and they wrote back, “She’s really dying.” I phoned her in the hospital in Mexico. We chatted a while. She was very weak. It was good. This week has been a particularly rough one on me because my friend John M. Ford the writer died completely unexpectedly. And it’s everybody who knew him and loved him is completely devastated, and one reason we’re devastated is he was sending us e-mails the day before and his heart went or his kidneys went in the night and he was gone. With Kathy I never had that. I’ve always missed her, but I got to phone up and say good-bye. That was good. That sort of somehow made it copable. Then she was gone, and she died in room 101. As Alan Moore said, “There’s nothing that woman can’t turn into a literary reference.”"
Kathy Acker was an American experimental novelist, poet, playwright, essayist, critic, performance artist, and postmodernist writer, known for her idiosyncratic and transgressive writing that dealt with complex themes such as childhood trauma, sexuality, language, identity, and rebellion. Her writing incorporates pastiche and the cut-up technique, involving cutting-up and scrambling passages and s
"In the total devastation of the heart which is the world, the lands-lords rule. There is no way we can defeat the landslords. But under their reins and their watchful eyes. I sail as the winds of lusts and emotions bare me. Everywhere and anywhere. I who will never own, whatever and whenever I want, I take."
"The German Romantics had to destroy the same bastions we do. Logocentrism and idealism, theology, all supports of the repressive society. Propertys pillars. Reason which always homogenizes and reduces, represses and unifies phenomena or actuality into what can be perceived and so controlled. The subjects, us, are now stable and socializable. Reason is always in the service of the political and economic masters. It is here that literature strikes, at this base, where the concepts and actings of order impose themselves. Literature is that which denounces and slashes apart the repressing machine at the level of the signified."
"Even a woman who has the soul of a pirate, at least pirate morals, even a woman who prefer loneliness to the bickerings and constraints of heterosexual marriage, even such a woman who is a freak in our society needs a home. Even freaks needs homes, countries, language, communication. The only characteristic freaks share is our knowledge that we dont fit in. Anywhere. Is it for you, freaks, my loves, I am writing and it is about you."
"You create identity, youre not given identity per se. What became more interesting to me wasnt the I, it was text because its texts that create the identity. Thats how I got interested in plagiarism."
"At a certain point I realized that the "I" doesnt exist. So I said to myself: If the "I" doesnt exist, I have to construct one, or maybe even more than one."
"Writing as Magic in London in Its Summer: Iain Sinclair and the Crafting of Place" by Kathy Acker, in Vertigo Vol. 4, Issue 3 (Summer 2009)"
"At one point a heated discussion arose over the possible interpretation of Lolita as a grandiose metaphor of the classic Europeans hopeless love for young, seductive, barbaric America. In his afterword to the novel Nabokov himself mentions this as the naive theory of one of the publishers who turned the book down. And although there cant be the slightest doubt that Nabokov did not mean to limit Lolita to that interpretation, there is no reason to exclude it as one of the novels many dimensions. The point, I felt, became obvious when one drew the line between Lolita as a delightfully frivolous story on the verge of pornography and Lolita as a literary masterpiece, the only convincing love story of our century."
Lolita"Lovely food, for rabbits, that is."
"One makes mistakes; that is life. But it is never a mistake to have loved."
Romain Rolland"[explaining to Ernie how April apologized to him] She just showed up at the factory, took off her coat, and begged me to take her. We made love in a way that Ive only ever seen in nature films."
MouseHunt (film)"Love is always love, come whence it may. A heart that beats at your approach, an eye that weeps when you go away are things so rare, so sweet, so precious that they must never be despised."
Guy de Maupassant"He was obeyed, yet he inspired neither love nor fear, nor even respect. He inspired uneasiness. That was it! Uneasiness. Not a definite mistrust — just uneasiness — nothing more. You have no idea how effective such a... a... faculty can be. He had no genius for organizing, for initiative, or for order even. That was evident in such things as the deplorable state of the station. He had no learning, and no intelligence. His position had come to him — why? Perhaps because he was never ill . . . He had served three terms of three years out there . . . Because triumphant health in the general rout of constitutions is a kind of power in itself."