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Blood Money: Sovereignty and Exchange in Kathy Acker

Blood Money: Sovereignty and Exchange in Kathy Acker MICHAEL CLUNE Blood Money: Sovereignty and Exchange in Kathy Acker I thought that, one day, maybe, there’ld be a human society in a world which is beautiful, a society which wasn’t just disgust. Kathy Acker, Empire of the Senseless • • n 1989, as the institutions of an earlier radicalism began to crumble in Eastern Europe, Kathy Acker reflected on her sense of the possibility of a new radical literature: “Perhaps our society is now in a ‘post-cynical’ phase. Certainly, I thought as I started Empire, there’s no more need to deconstruct, to take apart perceptual habits, to reveal the frauds on which our soci- ety’s living. We now have to find somewhere to go, a belief, a myth. Somewhere real” (“Notes” 11). In that novel, Acker represents this “movement from no to yes” as the transformation of terrorists into pirates. The scene of this transformation is a multinational, post- historical Paris, a city where forms of domination and oppression from every time, from slavery to a futuristic form of mind control, are wielded by shadowy masters against the alienated and dispos- sessed multitude. This is a world where “the right-wing owns val- ues and meanings” (Empire 73), where http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Contemporary Literature University of Wisconsin Press

Blood Money: Sovereignty and Exchange in Kathy Acker

Clune, Michael.
Contemporary Literature , Volume 45 (3) – Oct 28, 2004
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Publisher
University of Wisconsin Press
Copyright
Copyright © 2004 the Board of Regents of the University of Wisconsin.
ISSN
1548-9949

Abstract

MICHAEL CLUNE Blood Money: Sovereignty and Exchange in Kathy Acker I thought that, one day, maybe, there’ld be a human society in a world which is beautiful, a society which wasn’t just disgust. Kathy Acker, Empire of the Senseless • • n 1989, as the institutions of an earlier radicalism began to crumble in Eastern Europe, Kathy Acker reflected on her sense of the possibility of a new radical literature: “Perhaps our society is now in a ‘post-cynical’ phase. Certainly, I thought as I started Empire, there’s no more need to deconstruct, to take apart perceptual habits, to reveal the frauds on which our soci- ety’s living. We now have to find somewhere to go, a belief, a myth. Somewhere real” (“Notes” 11). In that novel, Acker represents this “movement from no to yes” as the transformation of terrorists into pirates. The scene of this transformation is a multinational, post- historical Paris, a city where forms of domination and oppression from every time, from slavery to a futuristic form of mind control, are wielded by shadowy masters against the alienated and dispos- sessed multitude. This is a world where “the right-wing owns val- ues and meanings” (Empire 73), where

Journal

Contemporary Literature – University of Wisconsin Press

Published: Oct 28, 2004

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