A Quote by Kathy Acker

I understand that postmodern literature probably means people like DeLillo, The Fiction Collective, but I don't get it that those writers are really influenced by postmodern theorists.
I am just postmodern enough not to trust 'postmodern' as a description of our times, for it privileges the practices and intellectual formations of modernity. Calling this a postmodern age reproduces the modernist assumption that history must be policed by periods.
The subject of feminism cannot be purely a fiction, as some postmodern writers suggest, produced by the discourses of power.
What is Southern California but an ever-changing dreamscape backdrop for the postmodern ideal? The psychology of the postmodern world is the continual state of change as we live in its idealist manufactured dream, built by developers.
Some years ago, I was invited to speak in Houston, Texas. They said I was a founder of 'postmodern theatre'. So I said to my office, 'This is ridiculous for me to go and speak about postmodern theatre when I don't know what it means, but... they're paying me a lot of money, so I'll go.'
I like to blur the line between fact and fiction, but not to condescend to the reader by enmeshing her/him into some sort of a postmodern coop.
Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. ... The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.
I spent four years doing a doctorate in postmodern American literature. I can recognize it when I see it.
The cyborg is a kind of disassembled and reassembled, postmodern collective and personal self. This is the self feminists must code.
I grew up in the heat of '70s postmodern fiction and post-Godard films, and there was this idea that what mattered was the theory or meta in art.
This might be one way to start talking about differences between the early postmodern writers of the fifties and sixties and their contemporary descendants.
The reason that fiction is more interesting than any other form of literature, to those who really like to study people, is that in fiction the author can really tell the truth without humiliating himself.
Fast and the Furious' is really a postmodern Western.
Terrorists are people, too - they are given to error. Naipaul and then DeLillo do a good job in their novels of drawing this out: I'm thinking of DeLillo's contention in 'Mao II' that terrorists have replaced writers as the people who 'alter the inner-life of the culture.' I thought that was marvellous!
The postmodern reply to the modern consists of recognizing that the past, since it cannot really be destroyed, because its destruction leads to silence, must be revisited: but with irony, not innocently. I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows he cannot say to her, I love you madly, because he knows that she knows (and that she knows that he knows) that these words have already been written by Barbara Cartland. Still, there is a solution. He can say, As Barbara Cartland would put it, I love you madly.
Mystery Science Theater is really a postmodern show, it's really derived of many influences.
Just like those other black holes from outer space, Hollywood is postmodern to this extent: it has no center, only a spreading dead zone of exhaustion, inertia, and brilliant decay.
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