A Postmodern Reader by Joseph P. Natoli

By Joseph P. Natoli

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Many times over it put the modern project on the defensive. Even when, for a time, forced into the limbo of the subconscious, it went on poisoning the joy of victorious offensives. Unlike the first kind of doubt, found resonant and useful and therefore rapturously displayed in public, the second kind was treated with unqualified and unremitting hostility: it was marked for total and irrevocable destruction. It stood for everything the transparent and harmonious world that science was to build had to be purified of: unreason, madness, obscurity, undecidability.

Riddel's The Inverted Bell (1974), which treats the "counterpoetics" of William Carlos Williams in the context of Olson's statement, persuades me that Olson's position as interpreted along the lines of Heidegger as explained by certain French structuralists is not markedly different from what I perceive as Jarrell's meaning. Without the technical language of the structuralists, the formulation of the essential differences between "modernism" and "postmodernism" becomes: in conceiving of language as a fall from unity, modernism seeks to restore the original state often by proposing silence or the de- < previous page page_28 If you like this book, buy it!

Peper's slightly hostile discussion"at the same time, this unitary sensibility reveals, in a disturbing way, something of Marcuse's 'one-dimensionality' and Pynchon's 'entropy'" (Peper 1977, 65)is also recommendable for his discussion of the influence of Marshall McLuhan on Sontag's concept. " Graff finds this same energy in "the poetry of the Beats, the 'Projective' poets, and other poetic continuators of the nativist line of Whitman, Williams and Pound, in the short-lived vogue of the Living Theatre, happenings, and pop art, and in a variety of artistic and also musical experiments with randomness and dissonance" (Graff 1979, 58).

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