The undead past in Kathy Acker’s<i>Blood and Guts in High School</i>

Wasdin, Katherine

doi:10.1093/crj/clw016

Cited by 2 publications

(2 citation statements)

References 18 publications

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“…In others, it recalls a pop song, with recognizable erotic tropes: "I like the way you move your hips/All I want is a taste of your lips." Writing on Acker's citation and rewriting of authors from Classical Antiquity, Katherine Wasdin (2017) has argued this poem consists in a reconstruction of one of the largest surviving fragments of Sappho's (c. 630 BCc. 570 BC).…”

Section: A Coda? "The Sapphic Escape Route"mentioning

confidence: 99%

Expropriating the canon: on Kathy Acker’s plagiaristic poetics

Honório

2023

JCS

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This articletraces some of the key compositional strategies deployed by experimental U.S. writer Kathy Acker (1947–1997). These include citations, pseudo-citations, translations, pseudo-translations, the ventriloquistic exploitation of other authorial signatures, or their figuration within Acker’s own narrative fiction. Given its polyvocal, multi-layered and palimpsestic composition, Blood and Guts in High School(1984) provides a strong example of the poetic and political efficacy of such concerted acts of textual transgression. Conceptually motivated, these speak to a programmatic critique of the forceful authority of the Western tradition, and of Western literature in particular (both as an institution and as a history). By keying into specific moments in Acker’s work, with a particular emphasis on Blood and Guts in High School, this article aims to demonstrate the importance of textual expropriation for Acker’s sustained invectives against the regulatory ideals that definethe contemporary novel, along with those principles governing the legitimacy of literary authorship and literary creativity.

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Section: A Coda? "The Sapphic Escape Route"mentioning

confidence: 99%

Expropriating the canon: on Kathy Acker’s plagiaristic poetics

Honório

2023

JCS

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“… 115 See Balmer (2012) 266 on how few women engaged with Catullus until the late twentieth century. On later women's responses, see Balmer (2014) Chapter 9, Theodorakopoulos (2012) and (2014), Wasdin (2017), and Lewis (2018). …”

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confidence: 99%

Shameful Kisses: A History of the Reception – and Rejection – of Homoeroticism in Catullus

Lewis¹,

Robertson²

2021

Antichthon

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The history of Catullus’ reception has been one of exclusion as much as inclusion. Since the seventeenth century, many Anglophone writers have used Catullus as inspiration for their translations, poetic adaptations, and novels. A great deal of these works occluded the role that male homoeroticism played in the Latin poems, especially by omitting Catullus’ male love object, Juventius. Writers have employed various techniques to deal with Catullus’ ‘problematic’ pagan mores: choosing to ignore the suite of poems associated with homoeroticism (for example, Wilder 1948); bowdlerising homoerotic language (such as Nott 1795, Cranstoun 1867, and Macnaghten 1899); and performing ‘gender swaps’ to portray male-male relationships as male-female (a technique employed to memorable effect by de La Chapelle in 1680, and later by Lamb in 1821). Excision of whole poems or bowdlerisation of obscene terms was also often used to deal with Catullus’ depictions of male-on-male sexual violence, a topic regularly entwined with the gentler homoerotic content. This article surveys, analyses, and explains this aspect of Catullus’ reception in English from 1659–1915.

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The undead past in Kathy Acker’sBlood and Guts in High School

Cited by 2 publications

References 18 publications

Expropriating the canon: on Kathy Acker’s plagiaristic poetics

Expropriating the canon: on Kathy Acker’s plagiaristic poetics

Shameful Kisses: A History of the Reception – and Rejection – of Homoeroticism in Catullus

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