The restored and remastered vinyl reissue of a sound performance by American writer Kathy Acker and French noise/experimental band Nox, published in 1987, with a poster and a previously unpublished set of documents, letters, texts and photos.

Originally released in a long sold-out edition of 50 cassette tapes, Love, Emily (Acte 3) was the third and final album of Michel Henritzi's industrial label AKT Production. Recorded in a Paris studio in 1987, this 25-minute collage of spoken word and noise saturations intersects two radical voices from literature and experimental music of the time: American author Kathy Acker reading excerpts from her book My Death My Life by Pier Paolo Pasolini, and Nox, mainstay of the French noise and industrial scene. Pulled from oblivion, restored and remastered for vinyl by Slow Moves, this archive gem crosses the clashing worlds of poetry and industrial music, melding Acker's thought-provoking words to absolute and inflexible industrial sounds. A lot of it is noise, but a lot of it is also play; research for a new mystique, generating unusual forms and unknown languages.

Published in a limited edition of 400 copies, this vinyl also comes with a long printed panel of previously unpublished photographs and letters from Kathy Acker, tracing the background exchanges that led to the collaboration between the groundbreaking writer, Henritzi and Nox, a poster of Kathy Acker with French translations and a download code featuring both music and extra archival material (interview and articles).

With Kathy Acker (voice), Gerome Nox (percussion, guitars, vocals), Mikhail H (guitars).

American author Kathy Acker was one of the most influential writers of the 20th century. Working through an experimental and avant-garde tradition, she wrote numerous novels, essays, poems, and novellas from the early 1970s to the late 1990s. As a postmodernist, plagiarist, and post-punk feminist, she continues to inspire generations of writers, philosophers, and artists. Get Rid of Meaning is the first comprehensive publication on Acker’s work from an artistic and literary perspective. It includes previously unpublished material from Acker’s personal archive and other collections. The publication is the compilation of a multipart research project including an exhibition and a symposium at Badischer Kunstverein in Karlsruhe.

With contributions from: Kathy Acker, Eleanor Antin, Dodie Bellamy, Hanjo Berressem, Ruth Buchanan, William S. Burroughs, Anja Casser, Georgina Colby, Leslie Dick, Claire Finch, Johnny Golding, Lynn Hershman Leeson, Anja Kirschner, Chris Kraus, Sylvère Lotringer, Douglas A. Martin, Jason McBride, Karolin Meunier & Kerstin Stakemeier, Avital Ronell, Carolee Schneemann, Daniel Schulz, Matias Viegener & McKenzie Wark.

Loosely related to Robert Louis Stevenson's classic Treasure Island, Pussy, King of the Pirates is a grrrl pirate story that journeys from the most famous whorehouse in Alexandria through an unidentified, crumbling city that may or may not be sometime in the future, to Brighton Town, England, and, finally, to a ship headed toward Pirate Island, where the stories converge and the vision ends.

Ransacking world history, literature, and language itself to speak to the current zeitgeist, Pussy, King of the Pirates is the literary analogue to the wild girl energy that dominates our rock and roll culture in the 1990s. A daring and passionate litany of disparate narratives and voices, poetry and prose, words and images, Kathy Acker's newest novel is perhaps her most subversive to date. Her meditations on love, sex, death, and art have made her a writer like no one else working today.

In this characteristically sexy, daring, and hyperliterate novel, Kathy Acker interweaves the stories of three characters who share the same tragic flaw: a predilection for doomed, obsessive love. Rimbaud, the delinquent symbolist prodigy, is deserted by his lover Verlaine time and time again. Airplane takes a job dancing at Fun City, the seventh tier of the sex industry, in order to support her good-for-nothing boyfriend. And Capitol feels alive only when she's having sex with her brother, Quentin. In Memoriam to Identity is at once a revelatory addition to, and an irreverent critique of, the literature of decadence and self-destruction.

Based loosely on the relationship between Colette Peignot and Georges Bataille, My Mother: Demonology is the powerful story of a woman's struggle with the contradictory impulses for love and solitude. At the dawn of her adult life, Laure becomes involved in a passionate and all-consuming love affair with her companion, B. But this ultimately leaves her dissatisfied, as she acknowledges her need to establish an identity independent of her relationship with him. Yearning to better understand herself, Laure embarks on a journey of self-discovery, an odyssey that takes her into the territory of her past, into memories and fantasies of childhood, into wildness and witchcraft, into a world where the power of dreams can transcend the legacies of the past and confront the dilemmas of the present. With a poet's attention to the power of language and a keen sense of the dislocation that can occur when the narrative encompasses violence and pornography, as well as the traumas of childhood memory, Kathy Acker here takes another major step toward establishing her vision of a new literary aesthetic. 

A collection of early and not-so-early work by the mistress of gut-level fiction-making.

You can say I write stories with sex and violence and therefore my writing isn't worth considering because it uses content much less lots of content. Well, I tell you this: 'Prickly race, who know nothing except how to eat out your hearts with envy, you don't eat cunt'...

Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker's raw, brilliant, emotional and cerebral texts from 1970s, including the self-published 'zines written under the nom-de-plume, The Black Tarantula.

This volume features, among others, the full text of Acker's opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985, Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating conversation with Semiotext(e) editor Sylvere Lotringer--which is trippy enough in itself as Lotringer, besides being a real person, has appeared as a character in Acker's fiction. And last, but not least, is the full transcript of the decision reached by West Germany's Federal Inspection Office for Publications Harmful to Minors in which Acker's work was judged to be not only youth-threatening but also dangerous to adults, and subsequently banned.

Acker is the sort of the writer that should be read first at 16, so that you can spend the rest of your life trying to figure her out; she confuses, infuriates, perplexes and then all of a sudden the writing seems to be in your bloodstream, like some kind of benign virus. She's definitely not for the easily offended--but then, there are worse things in life than being offended. Such as the things that Acker writes about...

Kathy Acker was a novelist, essayist and performance artist whose books include Blood and Guts in High School, The Childlike Life of the Black Tarantula, Empire of the Senseless, In Memoriam to Identity, Don Quixote, My Mother: Demonology, and her last novel, Pussy King of the Pirates. Born and raised on New York's Upper East Side, she died of breast cancer in Tijuana, Mexico, in 1997.

Three early, self-published novels from Kathy Acker reissued with an original introduction by Kate Zambreno, the author of Heroines, Green Girl, Screen Tests, and more.

The Childlike Life of the Black Tarantula, Kathy Acker's debut and the first in this three-novel collection, began as an episodic handmade pamphlet that Acker mailed out to influential writers and artists whose addresses she managed to get her hands on. In the novel, Acker steps into the biography of a Mississippi murderess who falls in love with a famous lawyer, and mixes in fragments from porn, historical romance, pulp fictions, and The Story of O. Collect with her second novel, the dreamy exploration of desire I Dreamt I was a Nymphomaniac, and her third, The Adult Life of Toulouse Lautrec, Portrait of an Eye is dive into the frenzy of sexual wanting, the search for identity, and the invention of a new literary language.

Now with an introduction by Kate Zambreno contextualizing the resurrection of these three early Acker novels, this new edition of Portrait of an Eye reminds us of all there is still to learn from Kathy Acker, a writer and artist whose work "remains radical and uncanny, entirely inimitable, a smash and grab on the history of literature" (Guardian).

Originally published in 1988, Empire of the Senseless marked a turning point in Acker's wild, inimitable style. Considered one of her more accessible works, here Acker candidly addresses her lifelong obsessions: childhood and trauma, language and sexuality, criminality and corruption, oppression and rebellion.

Abhor (part human, part robot) and her lover Thivai (a pirate) traverse Paris in a dystopian future, in search of a mysterious drug that Thivai needs in order to maintain his ability to love. Navigating the chaotic city, they encounter mad doctors, prisoners, bikers, sailors, tattooists, terrorists, and prostitutes, while a band of Algerian revolutionaries take over, and the C.I.A. plots to thwart them all.

Sexually explicit, graphically violent, Empire of the Senseless resists the desensitizing of cultural consciousness and the disintegration of interpersonal communication. A timeless, prescient parable, it speaks profoundly to our social and political history as well as our present reality.

Quelques textes de Kathy Acker, écrits avant ses trente ans, traduits par Elodie Petit et Claire Finch.

Various artists and authors use two writers' correspondence as a primary source to develop an artistic and literary falsification. In this collaborative volume, the writer and artist Paul Buck works with the late 29 Kathy Acker. Using as source the raw materials of their correspondence from the early Eighties, a period when Acker was writing Great Expectations and trying to leave America for London, Buck confronts issues of appropriation, sampling, and plagiarism, relevant then and now.

Further encounters are triggered by writer Rebecca Stephens, artist John Cussans... and playwright Richard Foreman, artist Susan Hiller, musician David Coulter. Kathy Acker (1947-1997) was at the forefront of transgressive writing from the Seventies until her death. Her provocative intertextual narratives—halfway between autobiography and pornography—were developed in lectures, performances and films (Variety, Bette Gordon).

Her published work includes Blood and Guts in High School (1984), Don Quixote (1986), and Empire of the Senseless (1988). Rebecca Stephens escaped the chains of theology teaching to write on Saints and Courtesans, subjects on which books are in the pipeline.

John Cussans is a writer, artist and researcher who has exhibited regularly in London, Berlin, Slovenia, Vienna, Vancouver. In 2001 he founded The Bughouse, an art-event generator inspired by the work of Philip K. Dick. Paul Buck (born 1942, United Kingdom) is a British poet, performer and author of more than fifty crime novels. He has been challenging notions of writing, narrative, and the limits of the feasible since the late Sixties in books like The Honeymoon Killers, Violations and Lust, Walking into Myself... Chief editor of Curtains magazine, he introduced many French authors to the English audience.