Voice in Kathy Acker's Fiction
2001; University of Wisconsin Press; Volume: 42; Issue: 3 Linguagem: Inglês
10.2307/1208993
ISSN1548-9949
Autores Tópico(s)Poetry Analysis and Criticism
Resumo*A voice reverberates through Kathy Acker's novelstheir most obvious characteristic, I assumed, until I read the criticism they have generated, as well as her interviews and obituaries. Acker denies having any voice at all and explains her so-called plagiarisms as a solution to that problem.1 Other texts gave her a starting point for speaking without her first having to dominate her material. Indeed, she came to affirm her lack of voice as ideologically desirable. Our cultural demands for originality and creativity, she decided, derive from capitalist and phallic values (Few Notes 10). Or, as she makes her point (elliptically and ungrammatically), The writer took a certain amount of language, verbal material, forced that language to stop radiating in multiple, even unnumerable directions, to radiate in only one direction so there could be his meaning; Want to play.... If had to force language to be uni-directional, I'd be helping my own prison to be constructed (Humility 116). Because Acker's stance gratifies a variety of feminist and poststructuralist predilections, most work done on Acker assumes no voice
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