“What’s this gay shit?” my friend asked, spotting my copy of I’m Very Into You (Semiotext(e), 2015) on the bar. Funny, I doubt either of its authors would be offended by his words, perhaps not even by their context. Whatever one calls it, the brief relationship between McKenzie Wark and Kathy Acker lingers on 20 years later.
Wark met Acker in July of 1995 when she was visiting Sydney, Australia. The next year, he visited her in San Francisco. Their brief relationship, which largely existed between those two meetings, is chronicled via their collected emails in I’m Very Into You: Correspondence 1995–1996. Like everyone who came in contact with her, Wark was irrevocably inspired. “She would just read a book and re-write it,” he tells V. Vale (2014). “Sitting cross-legged on the floor, she would just read Treasure Island and re-write it. You don’t wait for inspiration, you just get going” (p. 21). Acker left no stone unthrown, no line uncrossed. Wark continues, “When I met her, she had three books… And she was writing Pussy, King of the Pirates (Grove, 1996). It’s one-third Treasure Island and two-thirds something else, and she would just read these three books and, almost at random, re-write them” (p. 22). It was her version of the Burroughs and Gysin cut-up method, filtered through an abject letting-go of the bullshit. Call it feminism, call it punk, call it postmodernism, call it piracy or plagiarism; it’s Acker’s own brand of creative destruction.
Reading her critics, one gets the sense that they haven’t actually read much of her work. I am intentionally hedging on much of what is discussed directly in I’m Very Into You here because it feels just that raw. Reading it is by turns heady and heartbreaking, revelatory and naughty. Watching two minds of such depth and creativity unfold to each other is a lot to take in. As authorized as it might be, I’m Very Into You is the most intimate email leak ever. However, there is much to be learned in its disclosures.
When all that’s known is sick, the unknown has to look better.
— from Empire of the Senseless by Kathy Acker
Lost & Found: The City University of New York Poetics Document Initiative just released Homage to Leroi Jones & Other Early Works (Lost & Found, 2015), edited by Gabrielle Kappes. This chapbook collects the works of a 25-year-old Kathy Acker who lives in Manhattan with a cat named Lizard and strips in a Times Square sex shop. Written in the waning months of 1972, these writing exercises, journal entries, and clipped poems are the prototypes of the deconstructed style Acker came to be known for, queering everything in its path. Wark once wrote of her that “…she wrote as a woman, inventing what that might be as she went along” (quoted in Acker & Wark, 2015, p. 139). These writings are the beginnings of that process.
“If there’s going to be interesting fiction written in America, it’s probably going to be by women,” Ken Wark tells V. Vale (p. 33). Here’s hoping the unearthing of more Kathy Acker writings unleashes another wave of women writers.
Acker, Kathy. (1988). Empire of the Senseless. New York: Grove Press, p. 33.
Acker, Kathy. (2015). Homage to Leroi Jones and Other Early Works. New York: Lost & Found.
Acker, Kathy & Wark, McKenzie. (2015). I’m Very Into You. New York: Semiotext(e).
Vale, V. (2014). A Visit from McKenzie Wark. San Francisco: RE/Search Publications.
I marshal the middle between Mathers and McLuhan.