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“... with the novel form in his wake – John Hawkes, Rudolph Wurlitzer, Renata Adler, Lynne Tillman, Kathy Acker, Bret Easton Ellis and Tao Lin come to mind – but innovative narrative fiction has enjoyed far greater support from publishers and readers in Europe. The bulk of published American fiction consists of cookie-cutter, middle-class ‘problem ...”

“... I like them so much’. She throws in a translation of a piece by Robert Walser, pays tribute to Kathy Acker and boasts of not having read or even seen a single book by Raymond Carver. Tristram Shandy and The Pickwick Papers are said to be better than the complete works of Faulkner and Burroughs, and there are many discussions of George Eliot. At the ...”

“... to my own The Duchess’s Diary of 1980, Graham Greene’s Monsignor Quixote of 1982, and now Kathy Acker’s Don Quixote – which was a dream. The 18th century seized on the work as a model for developing the English novel, with Smollett and Fielding particularly indebted to Cervantes. The Romantic movement, especially in Germany, inevitably ...”

“... and mirror interrogations grew harsher and harsher. There were more stories of bad behaviour. Kathy Acker remembers being dumped from a car in the middle of the night, in a Panther-controlled area of Oakland, for refusing to take part in a Corso threesome. There were scuffles outside Burroughs’s Lower East Side bunker. ‘It’s always like this ...”

“... half of this decade, writers as diverse in talent and sensibility as Rebecca Brown, Dennis Cooper, Kathy Acker, Gary Indiana and Sarah Schulman, writers whose main similarity seemed to be that they all started out at small presses before being ‘discovered’ by big houses.By now – by which I mean, in the most Nixonian sense of the phrase, at this ...”

“... Jeff Nuttall (Four Door Guide), Barry MacSweeney (that more simple natural time tone distortion), Kathy Acker (Visible Shivers). They’re not like the other books on that shelf, they’re coffee-splashed, cigarette-burned, warped, read. But poets’ libraries are dispersed frequently; reassembled, dispersed again. The arrival of blockbuster ...”

“... continuity rather than disruption by the irrational, or confrontational postmodernism à la Kathy Acker. Surrealistic effects​ , nevertheless – not easy to control in prose – are part of Williams’s repertoire. She sometimes resorts to dream logic as a way of finishing a story, so that the newlyweds of ‘The Wedding’ levitate ...”