Kathy Acker

Kathy Acker (born April 18, 1947?, Manhattan, New York, U.S.—died November 30, 1997, Tijuana, Mexico) was an American novelist whose writing style and subject matter reflect the so-called punk sensibility that emerged in the 1970s. Acker’s novels combine autobiography and fiction that she deliberately plagiarized from other writers in an effort to dismantle concepts of identity and authorial voice. She often centered explicit violence and sexuality in her writing, and she achieved a celebrity status among the underground scenes in New York City and London.

Background and education

Many details of Acker’s life, including her birth year, are disputed because of the radical autobiographical contradictions in her work and her penchant for self-mythology. She often claimed an origin story in which her father (Donald Lehmann, or Harry Lehman, Jr.) abandoned her pregnant mother (Claire Weill), who subsequently considered aborting her unborn child (Acker) but either changed her mind or failed in the attempt to do so. As another example of Acker’s later self-mythologizing, in her novel I Dreamt I Was a Nymphomaniac!: Imagining (1974), she says that her father was assassinated in a bathtub on the day that she was born, and she calls herself “the last reject of the most powerful of all families: Acker: the last authentic descendant of the last Hungarian King.” Although Acker’s birth certificate and other government-issued documents list 1947 as her year of birth, her work was grounded in resisting a fixed personal narrative. In an essay about Acker published by Literary Hub, Douglas A. Martin characterized her as “forever spinning out of new configurations, a one-woman identity factory.”

When she was several months pregnant, Claire Weill married Albert (“Bud”) Alexander. Acker was named Karen Alexander at birth and was called Kathy by her mother. The eldest of two children, she had an upper-middle-class upbringing in Manhattan, where she attended a private school for girls. On the surface her childhood appeared to be relatively typical, but she sensed that she had been unwanted by her mother, who was openly scornful of her husband and daughters, particularly of her eldest. (This feeling infused her later works. In Politics [1972], Acker’s first book, she pronounced, “DOWN WITH THE FAMILY THE FAMILY IS THE WORST EVIL IN THIS COUNTRY IT IS THE CAUSE OF EVIL EVERYWHERE.”) Moreover, when she was 13, she discovered that Bud Alexander was not her biological father. That same year she had sex for the first time. By this time she had developed a love of reading, which, along with sex, served as a means to escape the unhappiness of her childhood.

After graduating from prep school, Acker studied classics at Brandeis University, where she met and married a fellow student, Robert Acker. Before graduating, she moved with her husband to San Diego and finished her degree at the University of California. There Acker made important friendships with the poet David Antin and his wife, Eleanor Antin, a conceptual artist. During this time Acker began experimenting with “appropriating” other writers’ works for her own writing.

Literary works and other projects

In 1970 Acker moved to New York City, having separated from her first husband, whom she eventually divorced. (She later married and divorced Peter Gordon, a musician.) Her early employment ranged from clerical work to performing in pornographic films. In 1972 she began publishing willfully crude, disjointed prose that drew heavily from her personal experience. Her writing served as a literary analog to contemporary developments in music, fashion, and the visual arts. Her works also elicited frequent comparison with those of William S. Burroughs and Jean Genet, and Acker herself cited the influence of the French nouveau roman, or antinovel.

From the outset of her literary career, Acker blatantly lifted material from other writers, manipulating it for her own often unsettling purposes. In the early novel The Childlike Life of the Black Tarantula (1973), this process of appropriation is central to the narrator’s quest for identity. The book’s themes of alienation and objectified sexuality recur in such later novels as Great Expectations (1982). Written after the death of Acker’s mother and stepfather, it plagiarizes and deconstructs the classic 19th-century novel by Charles Dickens. Blood and Guts in High School (1984) centers on a 10-year-old girl named Janey who lives a radically dangerous and peripatetic life involving gangs and sex work. Considered her best-known work, it was banned in West Germany and South Africa. In Don Quixote: Which Was a Dream (1986), the titular character made famous by Miguel de Cervantes’s celebrated 17th-century novel of the same name is a 20th-century woman about to have an abortion. Among Acker’s other works of fiction are Empire of the Senseless (1988) and Literal Madness (1988), a collection of her novels Kathy Goes to Haiti, My Death My Life by Pier Paolo Pasolini, and Florida.

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Acker also wrote the script for Variety (1983), a film directed by Bette Gordon about a young woman who works as a ticket seller at a pornographic movie theater. That same year she moved to London. Having received an inheritance after her grandmother’s death two years earlier, she collected avant-garde fashions and nurtured her interest in bodybuilding and motorcycles. By this time Acker was regarded as a literary “rock star” by many fans, critics, and fellow artists.

She provided the libretto for the opera The Birth of the Poet, a collaboration with her former husband Peter Gordon. It was performed in 1985 at the Brooklyn Academy of Music after debuting in Rotterdam, Netherlands, the previous year. In 1991 a collection of some of Acker’s early works were published under the title Hannibal Lecter, My Father. This was followed by My Mother: Demonology (1993), which consists of seven love stories. Her 1996 novel, Pussy, King of the Pirates, was adapted for the stage by the seminal punk band the Mekons. The band and Acker released a CD under the same title.

Death

In 1996 Acker was living in San Francisco and teaching as an adjunct professor at an art college when she was diagnosed with breast cancer. She underwent a double mastectomy, but she opted against chemotherapy. In November 1997 she traveled to Mexico to pursue alternative health treatments at a clinic in Tijuana, where she died.

Legacy

In 2015 Acker’s email correspondence with media theorist McKenzie Wark on topics such as sex and culture was published as I’m Very into You: Correspondence 1995–1996. Acker’s life and the transgressive aspects of her career formed the subject of the documentary Who’s Afraid of Kathy Acker? (2007), directed by Barbara Caspar. Notable biographies are After Kathy Acker (2017) by Chris Kraus, who shared many common friends with Acker, and Eat Your Mind: The Radical Life and Work of Kathy Acker (2022) by Jason McBride. Her work and influence are also discussed in Art Monsters: Unruly Bodies in Feminist Art (2023) by Lauren Elkin.