Not two years after that, terrorism becomes a central theme in Empire of the Senseless (1988) in which protagonists, Abhor and Thivai
, are themselves terrorists resisting an institution of power disseminated by the media and governed by money, so that "Empire" refers equally to systems of representation and the Western hegemony that governs them.
Acker presents Abhor as cognizant of the fact that her symbolic body and its relationship to Thivai
image the operations of postnational capitalism generally; her body symbolizes open terrain and source of sustenance:
The story is narrated in turn by the two main characters, Thivai
and Abhor; Thivai
desperately wants to be a pirate but is pessimistic about his chances: "I who would have and would be a pirate: I cannot.