Critical (Auto) Theory

The Autotextual as Tactic

McKenzie Wark argues that the rise of autofiction and autotheory—which she terms the "autotextual"—is not a symptom of neoliberal narcissism, but a deliberate tactical response to the constraints of the modern publishing industry. By documenting the process of their own creation, these works expose the institutional and social forces that shape the author's identity. Rather than attempting to reveal a "true" inner self, the autotextual maps the historical and material conditions that produce a legally and socially recognized subject.

Writing In-and-Against the Market

Drawing on her experience as a writer navigating the "conglomerate era" of publishing, Wark highlights the tension between the need for marketability and the desire for creative autonomy. Commercial publishers often demand "comps" (comparable titles) to minimize risk, forcing writers to conform to established categories. Wark suggests that writing "in-and-against" these systems—using the tools of the trade while subverting the expected outcomes—is a necessary strategy for those whose identities are often pathologized or marginalized by mainstream discourse.

Marxism, Labor, and the Self

Rejecting the "undialectical" view that everything is capital, Wark proposes a Marxism centered on labor. She views writing as a form of work that produces difference, even when it is forced to operate within a commodity-driven market. For marginalized writers, including transsexuals, the act of writing oneself into existence is a political achievement. By refusing the "aristocratic aloofness" often found in academia, Wark advocates for a "critical (auto) theory" that embraces the messy reality of being a writer in the city, acknowledging that the self is a made thing, curious about its own making.