P       RNCU   REPO   ODER       E            P O S T M O D E R N
P  TMOD RNCU  U EP S  ODER  ULTU E               C U L T U R E
P  TMODERNCU  UREPOS  ODER  ULTU E          an electronic journal
P  TMODERNCU  UREPOS  ODER       E           of interdisciplinary
Volume 2, Number 1 (September, 1991)              ISSN: 1053-1920
Editors:                              Eyal Amiran, Issue Editor
                                      John Unsworth
Book Review Editor:                   Jim English
Managing Editor:                      Nancy Cooke
Editorial Board:
          Kathy Acker                 Patrick O'Donnell
          Sharon Bassett              Elaine Orr
          Michael Berube              John Paine
          Marc Chenetier              Marjorie Perloff
          Greg Dawes                  David Porush 
          R. Serge Denisoff           Mark Poster
          Robert Detweiler            Carl Raschke
          Henry Louis Gates, Jr.      Mike Reynolds
          Joe Gomez                   Avital Ronell
          Robert Hodge                Andrew Ross
          bell hooks                  Jorge Ruffinelli
          Susan Howe                  Susan M. Schultz
          E. Ann Kaplan               William Spanos
          Arthur Kroker               Tony Stewart
          Neil Larsen                 Gary Lee Stonum
          Jerome J. McGann            Chris Straayer
          Larysa Mykyta               Paul Trembath
          Chimalum Nwankwo            Greg Ulmer
          Phil Novak
AUTHOR & TITLE                                             FN FT
Masthead, Contents, Abstracts,                       CONTENTS 991
     Instructions for retrieving files
Daniel R. White, "Literary Ecology and                WHITE-1 991
     Postmodernity in Thomas Sanchez's _Mile Zero_    WHITE-2 991
     and Thomas Pynchon's _Vineland_"                         
Bob Perelman, "The Marginalization of Poetry"        PERELMAN 991
     (a poem)
Michael Joyce, "Notes Toward an Unwritten Non-          JOYCE 991
     Linear Electronic Text, 'The Ends of Print
     Culture'" (a work in progress)
Rei Terada, "Derek Walcott and the Poetics of          TERADA 991
Bernard Duyfhuizen, "'A Suspension Forever at        DUYFHU-1 991
     the Hinge of Doubt': The Reader-Trap of         DUYFHU-2 991
     Bianca in _Gravity's Rainbow_"
Georg Mannejc, Anne Mack, J.J. Rome, Joanne          MCGANN-1 991
     McGrem, Jerome McGann, "A Dialogue on           MCGANN-2 991
Charles Bernstein, "Play It Again, Pac-Man"          POP-CULT 991
Bill Hsu, review of SPEW, the first queer punk       REVIEW-1 991
     fanzine convention.  May 25 1991.  Randolph
     Street Gallery, Chicago.
Gerry O'Sullivan, review of _Heidegger's             REVIEW-2 991
     Confrontation with Modernity: Technology,
     Politics, Art_, by Michael Zimmerman.
Dan Miller, review of _Musical Elaborations_, by     REVIEW-3 991
     Edward W. Said.
Charles Stivale, review of _Engendering Men:         REVIEW-4 991
     The Question of Male Feminist Criticism_, by
     Joseph A. Boone and Michael Cadden, eds., and
     of _Out of Bounds: Male Writers and Gender(ed)
     Criticism_, by Laura Claridge and Elizabeth 
     Langland, eds.
Announcements and Advertisements               [WWW Version only]
Daniel R. White, "Literary Ecology and Postmodernity in Thomas
     Sanchez's _Mile Zero_ and Thomas Pynchon's _Vineland_"
          ABSTRACT: This paper argues that the postmodern
     challenge to the premises of modernism has recently been
     augmented by a new literary genre: literary ecology.
     Literary ecology challenges the Cartesian technological
     paradigm, stemming from the Renaissance, which sees the
     human subject or %cogito% as the sole possessor of mind in
     nature, and the domination of nature as the human project.
     In place of the Cartesian model literary ecologists evoke a
     %paranoetic% or _schizophrenic_ mind in which the
     consciousness of man fragments and merges with the _mental
     ecology_ which is arguably immanent in the biosphere; they
     propose adaptation to natural diversity rather than its
     reduction to human purposes.  Thus there is a convergence
     between certain postmodern concepts such a "rhizomic" or
     "schizophrenic" or "doubly coded" discourse, on the one
     hand, and the "ecologic" of the ecological mind, on the
     other.  Literary ecology makes this convergence evident by
     innovative textual strategies and constitutes a new form of
     discourse in which %poesis% becomes a creative extension of
     morphogenesis and counsel of ecological wisdom.  Just as
     importantly, literary ecology interweaves deep ecological
     concerns with those of socialist ecology and ecological
     feminism.  --DRW
Michael Joyce, "Toward An Unwritten Non-Linear Electronic Text,
     'The Ends of Print Culture'"
          ABSTRACT:  In what Jay Bolter calls "the late age of
     print," the topography of the text is subverted and reading
     is design-enacted.  The choices a text presents depend upon
     the complicity of the reader in creating and shaping meaning
     and narrative.  As more people buy and do not read more
     books than have ever been published before, often with
     higher advances than ever before, the book is merely a
     fleeting, momentarily marketable, physical instantiation of
     the network.  Readers face the task of re-embodying reading
     as movement, as an action rather than a thing--network out
     of book.  Hyperfiction writers confront the topographic
     (sensual) organization of the text and ask how it might
     present readers with reciprocal choices that constitute and
     transform the current state of the text.  Multiple fiction
     (hyperfiction) is the first instance of the true electronic
     text, what we will come to conceive as the natural form of
     multimodal, multi-sensual writing; it is not the
     transitional electronic analogue of a printed text. 
     Multiple fictions can neither be conceived nor experienced
     in any other way.  They are imagined and composed within
     their own idiom and electronic environment, not cobbled
     together from pre-ordained texts like a hypertextual
     encyclopedia on a CD.  Multiple fictions are instances of
     what Jane Yellowlees Douglas terms "the genuine post-modern
     text rejecting the objective paradigm of reality as the
     great 'either/or' and embracing, instead, the
     'and/and/and'."  The issues at hand are not technological
     but aesthetic, not what and where we shall read but how and
     why.  --MJ
Rei Terada, "Derek Walcott and the Poetics of 'Transport'"
          ABSTRACT:  Critical consideration of Derek Walcott's
     poetry has focused upon the problematic relation of his
     formal traditionalism to his postcolonial themes.  Although
     Walcott's postmodernity has not been discussed, the
     difficult relation of rhetoric to principle in Walcott's
     work points up limitations in definitions of postmodernism
     which themselves conflate rhetoric with principle, form with
     content.  Walcott feels no need to emphasize or estrange
     rhetoric as some other postmodern poets do, but only because
     rhetorical estrangement can be taken for granted in all
     language.  Walcott's late lyric "The Light of the World"
     explores both the consequences and the boundaries of poetic
     "transport" (in the senses both of lyric rapture and of
     metaphor).  In this poem Walcott seeks the relation of
     poetic figuration to ordinary speech, and finds that the
     former persistently inhabits the latter.  We should see
     Walcott's poetic style not as rhetorical conventionality,
     but as an outgrowth of this quite characteristically
     postmodern discovery.  --RT
Bernard Duyfhuizen, "A Suspension Forever at the Hinge of Doubt:
     The Reader-Trap of Bianca in _Gravity's Rainbow_"
          ABSTRACT:  Readers of Thomas Pynchon's _Gravity's
     Rainbow_ often find themselves either lost in a textual maze
     or making seemingly authoritative decisions about the text's
     representations.  Closer scrutiny of these representations,
     however, reveals these decisions to be the product of
     Pynchon's postmodern narrative technique that traps the
     reader into questionable teleological judgments.  A case in
     point is the character of Bianca, one of the shadow children
     of the Zone and one of Slothrop's sexual partners.
     Conventional readings of Bianca (and necessarily of
     Slothrop's relationship with her) base themselves on a
     misperception of her age and on a need to specify her death
     within the textual universe.  In showing how these readings
     are both produced and misguided, this essay uncovers a more
     significant layer of reading problematics, focusing on the
     production of textual representation and on the function of
     gender and reading in _Gravity's Rainbow_.  Through this
     reading of the semiotic matrix encoding "Bianca," the essay
     attempts to show how a poststructuralist strategy of
     reading, one that remains open to textual uncertainty and
     the play of textual %differance%, must be engaged to avoid a
     premature foreclosure of narrativity and to allow the text's
     other levels of representation to emerge.  --BD
Georg Mannejc, Anne Mack, J.J. Rome, Joanne McGrem, and Jerome
     McGann, "A Dialogue on Dialogue"
          ABSTRACT:  In a sense this text has no message that
     could be separated out from its medium.  The text is an
     illustration of itself, of the operation of dialogue as a
     form of masquerade.  As such, it may also be read as a kind
     of parody of itself--how serious a parody would be a matter
     of dispute.  The dialogue features four, five, or eight
     "notional" characters (the number depends on how one
     counts), as well as one (apparently) "real" character.
     There are (is?) as well "Footnotes," which appear to
     function as yet another (in this case unnamed) "voice."
     "Footnotes" distinguishes the following critical positions
     on the dialogue form: interpretation is dialogue (Mannejc);
     critique is dialogic (Rome); poetry is dialogic (Mack);
     dialogue is poetry (McGrem).  Other views (Footnotes',
     McGann's, ABC's) might be defined as well.  The entire
     exercise seems intended as an interrogation (or display, or
     send-up) of dialogical imagination, a critical idea (or
     ideology) that has exercised great authority in contemporary
     critical practice.  --JJM
COPYRIGHT: Unless otherwise noted, copyrights for the texts which
comprise this issue of _Postmodern Culture_ are held by their
authors.  The compilation as a whole is Copyright (c) 1991 by
_Postmodern Culture_, all rights reserved.  Items published by
_Postmodern Culture_ may be freely shared among individuals, but
they may not be republished in any medium without express written
consent from the author(s) and advance notification of the
editors.  Issues of _Postmodern Culture_ may be archived for
public use in electronic or other media, as long as each issue is
archived in its entirety and no fee is charged to the user; any
exception to this restriction requires the written consent of the
editors of _Postmodern Culture_.


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