The story jumps literary styles, prose, to poem, to script. Like so many other writers (particularly those who are women) she plays with the question of focalisation, pushing readers to remember that the narrator is a character, not the author herself. Like Woolf’s hero, Acker’s narrator is unreliable and ambiguous. In truth, I think that Acker is playing less with Great Expectations than she is with Orlando. But where Dickens’ skill is in setting scene, hers in in unpacking a character. Her Great Expectations, made me work as much as Dickens’ rambling tome did. I don’t know if it’s because she seems a long past oracle of the current zeitgeist her depictions of toxic masculinity, written during the early 80s could have been written last week. Her rage, her despair, her passion, resonates with me right now. She was a writer whose urgency leaked through the page and into me. Ten years later (and late to the party), it was Angela Carter. She was gifted to me on my twenty first birthday by a schoolfriend. In my early 20s, as a young and terrified queer woman, it was Jeanette Winterson. Lori Hope Lefkonvitz, New York, SUNY Press, 1997.I feel like I come across authors at just the right time in my life. Sciolino, Martina, “The ‘Mutilating Body’ and the Decomposing Text: Recovery in Kathy Acker’s Great Expectations”, Textual Bodies: Changing Boundaries of Literary Representation, Ed. Ricerche per una semanalisi, Milano, Feltrinelli, 1978. Recherches pour une sémanalyse (1969), trad. Patrick O'Donnell – Robert Con Davis, Baltimore, Johns Hopkins UP, 1989: 171-190. Hulley, Kathleen, “Transgressing Genre: Kathy Acker's Intertext”, Intertextuality and Contemporary American Fiction, Eds. Complete Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives, Ed. Capitalismo e schizofrenia, Torino, Einaudi, 1975.ĭickens, Charles, “GreatExpectations” (1861), Great Expectations. Capitalisme et schizophrénie (1972), trad. Don Chisciotte, Kathy Acker, Milano, Shake, 1999.ĭeleuze, Gilles – Guattari, Félix, L’Anti-Œdipe. Kathy Acker e il linguaggio della meraviglia”, Don Quixote (1986), trad. Il piacere del testo, Torino, Einaudi, 1975.Ĭarratello, Mattia, “Postfazione. Id., Bodies Of Work, London, Serpent’s Tail, 1997.īarthes, Roland, Le plaisir du texte (1973), trad. Id., “Kathy Acker interviewed by Rebecca Deaton”, Textual Practice, 6.1 (1992): 271-282. Acker, Kathy, Great Expectations, New York, Glove Press, 1982.
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