"This is a book worthy of its subject: singular, unpredictable, a mongrel that occupies that rare, evocative space between genres. Expressing truths that transcend the stolid facts of conventional biography and literary analysis, Douglas A Martin reveals how the act of writing is also, always, an act of self-authorship, of identity destruction and creation—and how Acker took this process to an extreme that still stuns, confounds, and inspires." ASTRA TAYLOR
recent books:
- @ douglasamartin.com :: NEW BOOKS
- New York Times Book Review of ACKER ("Three Literary Critics Who Engage with Their Subjects, Unconventionally," by Kathleen Rooney)
- nightboat books
- 7stories Press: Once You Go Back
- SOFT SKULL PRESS (“...full of hard-won, fraught, unsparing emotional truth...a piece of stylish and ferociously sharp prose. I love its fierce concentration and levels of obsession.” —Colm Tóibín, on OUTLINE of MY LOVER. "These are great poems cause they’re such non-poems. Torn up pieces, patches of stuff like a guy on a train reminds you of someone you used to love. If the whole category of poetry emptied out and they opened something else next door that does what poetry did—by falling down, missing the train, missing everything, and you can almost hear it—like music—well this poetry is kind of like that. It's awkward and swift. I really like it." —Eileen Myles, on IN the TIME of ASSIGNMENTS.
- U of W: They Change the Subject
- kammer/kammer
ACKER
"Douglas A. Martin’s ACKER is exactly the kind of literary criticism I want to read right now: an open-ended yet utterly thorough record of one deft, curious, intrepid mind beholding another. Whatever I knew or felt about Acker, this book has changed and expanded it. By placing her work and life in a variety of contexts, Martin not only pays close attention to the canon Acker created for herself, but also constructs a new one, tracing a new (feminist, queer, non-dogmatic) silvery thread through 20 century art, poetry, fiction, theory, and philosophy. Martin’s methodology is meditative, probing, roomy; his voice generous, tender, eloquent. Personal when he needs to be and clinical when his investigation calls for it, Martin acts as the perfect counterpoint to Acker’s all caps bombast. Acker has long deserved such a smart, caring study; anyone who cares about present and future possibilities of criticism has cause to be grateful, too." MAGGIE NELSON