The Paris Review

Kathy Acker’s Library

Kathy Acker’s impact as a writer and performer, a cultural figure, and an (often overlooked) academic is uniquely tangled: the innovations of her hybrid, transgressive literature, written between 1972 and 1996, baffled her contemporaries to a degree that, once didn’t signal an antitruth nihilism but a quest to subvert consciousness and challenge the rigidity of meaning, as she herself once put it. Her use of collage and appropriation raised questions that echo through today’s cultural landscape with striking urgency.

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Credits
Cover: © Jeremy Frey, courtesy of the artist, Karma, and the Metropolitan Museum of Art. Page 12, © Jeremy Frey, courtesy of the artist, Karma, and the Metropolitan Museum of Art; pages 34, 43, 48, 50, courtesy of Mary Robison; page 53, photograph by
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From “Section Of Adoring Nocturnes”
Stellatundra, Albadune, Whiteout,Zebranivem, Faloop’njoompoola. —Engaland, she said. Or a crystal bead of meager bees, a noctifuge suitcaseon the tip of the tongue. Give me loops.Give me turtles. O remolino de abejas marronesen un veliz “noctífugo.”
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Contributors
MOSAB ABU TOHA is a poet, short-story writer, and essayist. His second poetry book, Forest of Noise, is forthcoming from Knopf in fall 2024. REBECCA BENGAL is the author of Strange Hours. DEEPA BHASTHI is a writer and critic who translates Kannadalan

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