Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- List of Abbreviations
- Introduction: Kathy Acker and the Avant-Garde
- 1 Writing Asystematically: Early Experimental Writings 1970–1979
- 2 Collage and the Anxiety of Self-description: Blood and Guts in High School
- 3 Writing-through: Don Quixote: Which Was a Dream
- 4 Intertextuality and Constructive Non-identity: In Memoriam to Identity
- 5 Montage and Creative Cutting: My Mother: Demonology
- 6 Ekphrasis, Abstraction, and Myth: ‘From Psyche's Journal’, Eurydice in the Underworld, ‘Requiem’
- Conclusion
- Notes
- Bibliography
- Index
3 - Writing-through: Don Quixote: Which Was a Dream
Published online by Cambridge University Press: 26 April 2017
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- List of Abbreviations
- Introduction: Kathy Acker and the Avant-Garde
- 1 Writing Asystematically: Early Experimental Writings 1970–1979
- 2 Collage and the Anxiety of Self-description: Blood and Guts in High School
- 3 Writing-through: Don Quixote: Which Was a Dream
- 4 Intertextuality and Constructive Non-identity: In Memoriam to Identity
- 5 Montage and Creative Cutting: My Mother: Demonology
- 6 Ekphrasis, Abstraction, and Myth: ‘From Psyche's Journal’, Eurydice in the Underworld, ‘Requiem’
- Conclusion
- Notes
- Bibliography
- Index
Summary
Scholarship on Acker's works has paid particular attention to literary strategies of appropriation. Don Quixote: Which Was a Dream (1986) has been taken up by many critics as paradigmatic of Acker's technique of feminist appropriation. This chapter recognises that such scholarship is valuable to an understanding of Acker's work, yet seeks to move a conception of Acker's writing away from a focus on appropriation as such in order to offer a more complex articulation of the experimental practices at work in the text.
In part, the longstanding critical focus on appropriation in Acker's work has been engendered by Acker's own comments in interviews around the time of the book's publication. In conversation with Ellen G. Friedman Acker explicitly remarked: ‘Don Quixote, more than any of my other books, is about appropriating male texts.’ In the same interview, she elaborated on her compositional process and the question of feminist intent:
as a rule I haven't thought, ‘I am a woman, a feminist, and I'm going to appropriate a male text.’ What happens is that I frame my work way after I write it … In fact, I wrote the second part of Don Quixote first by rewriting texts, out of a Sherrie Levine-type impulse. Then I wrote the first and third parts later. The Lulu segment had been commissioned by Pete Brooks as a play. And I think I did the Leopardi part early on as well. Then I actually had an abortion. While I was waiting to have the abortion, I was reading Don Quixote. Because I couldn't think, I just started copying Don Quixote. Then I had all these pieces and I thought about how they fit together.
Many scholars have highlighted Acker's reference here to a method of appropriation that is comparable to Sherrie Levine's art. Levine began producing appropriative art in the late 1970s. Her work was exhibited at Douglas Crimp's ‘Pictures’ show at Artists Space, New York in 1977, an exhibition which, as David Evans has observed, ‘launched a now pervasive art based on possession – usually unauthorized – of the images and artefacts of others’. Levine photographs the photographs of renowned photographers.
- Type
- Chapter
- Information
- Kathy AckerWriting the Impossible, pp. 110 - 139Publisher: Edinburgh University PressPrint publication year: 2016