What she does affirm, as evidenced in Thivai
's flights of fancy, is fiction as an affective potential and "outer space." As with Burroughs, Acker sees fictional language as posing alternative states of being that work directly on a writer's or reader's experience:
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:
Acker's terrorist characters, Abhor and Thivai
, in Empire of the Senseless often embrace a similar despair.
(Remember Freud's comments in Totem and Taboo on "ambivalence": the codes would not need to forbid that which is not already attractive.) Thivai
, Abhor's sometime boyfriend (that is, sometimes boy and sometimes friend), is about to undergo his own initiation into the realms of masochism.