![]() ![]() Then, in characteristic Acker-fashion, the battle-brave bandit suddenly felt vulnerable, criticized, misunderstood. ![]() Kathy, being Kathy, wrote an apology more incendiary than the crime-bomb she had detonated. Robbins insisted she apologize-which was really the kind of suck-my-dick attitude that Kathy hated. Kathy Acker had exposed Harold Robbins-to himself. Kathy’s appropriation of his work had made it comically clear that out of the context of the page-turning sex-yarn-where language has no purpose except as a lubricant to slide the reader from one sex act to another-Robbins’s prose was awful. ![]() Reading Harold Robbins takes no mental effort at all, so Kathy was surprised that the man who had sold more than 75 million copies of his sex and schlock formula should put so much mental effort into suing a literary bandit.īut Robbins had a high opinion of himself as a writer. Robbins, the mass-market soft-porn airport-novel novelist wasn’t interested in Acker’s life-long raid on power structures, or her deep-cut-and-paste method of ripping up existing texts-great or insignificant-to create new texts that disrupted the reader’s relationship with what they were reading. Harold Robbins had tried to sue her for cutting and pasting a passage from one of his books, The Pirate, into her edgy re-release, Young Lust. In the early 1990s, Kathy Acker moved from London back to the USA. ![]()
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