By Nicola Pitchford

Tactical Readings analyzes the paintings of Kathy Acker and Angela Carter and argues for placing feminist practices of examining on the heart of a revitalized proposal of postmodernism. In AckerOs and CarterOs rereading of even these pictures decried via a few feminists as so much compromised and patriarchal Pitchford additionally sees a manner for feminism to maneuver past its inner divisions over sexuality and obscenity.

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Extra info for Tactical Readings: Feminist Postmodernism in the Novels of Kathy Acker and Angela Carter

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Most existing critical work on the politics of postmodernism that attempts to take into account the multiple axes of identity along which power operates has been influenced by feminist thinking. 26 However, I have a specific, disciplinary reason for making gender the primary category shaping my approach: in studies of literary postmodernism, feminism is frequently absent. S. S. ” Postmodernism, in this construction, is implicitly white and male. The literary category postmodernism has thus tended to function as a means of bracketing the issue of otherness, of keeping what I have called the two types of otherness rigidly separate.

71 He adds a note to chapter 1 8/27/01 3:49 PM Page 53 1 / a politicized postmodernism 53 historical descriptions of the postmodern city that qualifies the pessimism of Jameson’s and Harvey’s visions, suggesting that the decline of the great urban centers of the modern era has allowed neglected, no-longer-useful parts of the city to nurture more than weeds. The city-as-concept (rather than accident or organic growth) arose as a means of strategic planning, aimed at containing troublesome elements.

Not surprisingly, both Jameson and Harvey direct a lot of attention to reading postmodern urban archi-texts. But so do a number of contemporary feminist writers whose approach I would deem feminist-postmodernist; for instance, images of the city figure prominently in the novels of both Acker and Carter. These various theorists’ readings of the city provide a very telling point of comparison. 56 Jameson himself is careful to warn that none of the texts he chooses to read should be taken as fully exemplary of postmodernism, but a certain air of the typical nevertheless manages to attach itself to the Bonaventure.

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