Introduction 1

Home , Hendrik Hertzberg, Maureen Howard

Notes

Introduction 1. Jane Jacobs, The Death and Life of Great American Cities (New York: Vintage, [1961]1992), 432. 2. Charles Jencks, The Language of Post-Modern Architecture (New York: Rizzoli, 1991), 96. 3. Brian McHale, Postmodernist Fiction (New York and London: Rout- ledge Methuen, 1987), 10–11. 4. Patricia Waugh, Feminine Fictions: Revisiting the Postmodern (New York and London: Routledge, 1989), 3–4. 5. Patricia Waugh, Practising Postmodernism/Reading Modernism (New York and London: Edward Arnold, 1992), 64–5. 6. Ibid., 61. 7. Ibid., 90. 8. Linda Hutcheon, A Poetics of Postmodernism: History, Theory, Fiction (New York and London: Routledge, 1988), 11. 9. Ibid., 14–15. 10. Ibid., 230. 11. Ibid., xii, 26. 12. Fredric Jameson, “Postmodernism and Consumer Society,” in Post- modern Culture, ed. Hal Foster (London: Pluto Press, 1985), 114–15. 13. Ibid., 115–16. 14. Ibid., 124–25. Jameson repeats some of these themes in his more famous essay “The Cultural Logic of Late Capitalism”, in Jameson, Postmodernism or the Cultural Logic of Late Capitalism (Durham: Duke University Press, [1984]1991), 1–54, but in my view the above essay contains the most potent and enduring statement of his position. 15. Hal Foster, “Against Pluralism,” in Recodings: Art, Spectacle, Cultural Politics (Port Townsend: Bay Press, 1985), 20. 16. Hal Foster, “(Post)Modern Polemics,” in Recodings, 123. 17. Foster, “Against Pluralism,” 19–20. 18. Hal Foster “(Post)Modern Polemics,” 123, 132. 19. Foster, “Against Pluralism,” 15. 20. See, for example, Waugh, Practising Postmodernism, 16. 21. Roland Barthes, “The Death of the Author,” in Image-Music-Text, trans. Stephen Heath (New York: Farrar, Straus and Giroux, 1977), 142–48. 202 Notes

22. Roland Barthes, “From Work to Text,” in Image-Music-Text (New York: Farrar, Straus and Giroux, 1977), 157. 23. Ibid., 159. 24. Ibid., 164. 25. Barthes, “Death of the Author,” 142–48. 26. Ferdinand De Saussure, Course in General Linguistics,trans.Wade Baskins, ed. Charles Bally and Albert Sechehaye (New York: McGraw- Hill, 1966). 27. Jacques Derrida, “Différance,” Margins of Philosophy,trans.AlanBass (Chicago: University of Chicago Press, [1968]1982), 6. 28. Ibid., 26. 29. Ibid., 27. 30. Jacques Derrida, “Structure, Sign and Play in the Discourse of the Human Sciences,” in Writing and Difference, trans. Alan Bass (Chicago: University of Chicago Press, [1966]1978), 279. 31. Ibid., 280. 32. Jacques Derrida, On Cosmopolitanism and Forgiveness,trans.Mark Dooley and Michael Hughes (New York and London: Routledge, 2001), 39, 45. 33. Jacques Derrida, “Some Statements and Truisms about Neologisms, Newisms, Postisms, Parasitisms, and Other Small Seismisms,” The States of ‘Theory’: History, Art, and Critical Discourse, ed. David Carroll (New York: Columbia University Press, 1990), 76. 34. Stanley Trachtenberg, ed., The Postmodern Moment: A Handbook of Contemporary Innovation in the Arts (Westport and London: Greenwood, 1985), xii. 35. Ibid. 36. Tractenberg, Introduction, The Postmodern Moment, 14. 37. Craig Owens, Beyond Recognition: Representation, Power, and Culture (Berkeley, Los Angeles, and Oxford: University of California Press, 1992), 88. 38. Ian Gregson, Postmodern Literature (London: Arnold, 2004), 1. 39. Ibid., 3. 40. Brian Edwards, Theories of Play and Postmodern Fiction (New York and London: Garland, 1998), 83, 86. 41. Ibid., 58. 42. Andrew Gibson, Towards a Postmodern Theory of Narrative (Edin- burgh: Edinburgh University Press, 1996), 19. 43. Ibid., 25. 44. Ibid., 25–6. 45. Richard Kearney, The Wake of Imagination (Minneapolis: University of Minnesota Press, 1988), 17. This image was no doubt inspired by Derrida’s similar one in “The Double Session,” in Dissemina- tion (Chicago: University of Chicago Press, 1981). See, for example, 195, 206. Notes 203

46. See Kearney, TheWakeofImagination, 251–55. 47. This is not the place to tease out the ambiguities in the theory on which he bases his argument, except to say that more than one conclusion could be derived from it. There is certainly an apocalyptic strain in this material, with its prognostications of the “death of the author,” the “demise of man,” and so forth, but Kearney chooses to reinforce and emphasize the apocalyptic rather than that aspect of the theory that eludes definitive pronouncements. 48. Kearney, Wake of Imagination, 292. 49. Richard Kearney, Poetics of Imagining: Modern to Post-modern (New York: Fordham University Press, 1998), 185. 50. Ibid., 185–210, esp. 187. 51. Linda Hutcheon, for example, writes that “postmodernism marks less a negative ‘disintegration’ or ‘decline’ in order or coherence than a challenging of the very concept upon which we judge order and coherence,” Poetics of Postmodernism, 57. But the implication remains that former benchmarks of certainty or value can no longer be accepted without question. 52. Kearney, The Wake of Imagination, 292. 53. Patricia Waugh has made a similar argument, indicating that while the line between theory and fiction has been blurred, the apoc- alypticism of the theory “may have unduly affected our response to the fictional artifacts,” Waugh, Practising Postmodernism, 129. See also 60–1, where she defends “Postmodernism” as a response to the exhaustion of other modes of art or other ways of knowing. 54. Barthes, “Death of the Author,” 148.

Chapter 1 1. Burton Roeche, “Unframed Space,” in Jackson Pollock, Interviews, Articles and Reviews, ed. Pepe Karmel (New York: Metropolitan Museum of Art, [1950]1999), 18–19. 2. Elizabeth Frank, Jackson Pollock (New York and London: Abbeville Press, 1983), 63. Special thanks for these references to Kalyn Belsha. 3. Robert Smithson, The Writings of Robert Smithson, ed. Nancy Holt (New York: New York University Press, 1979), 197. 4. Quoted in “The Lie of the Land,” The Guardian Unlimited (March 31, 2007), http://arts.guardian.co.uk/art/visualart/story/ 0,2046697,00.html. 5. George C. Stowers, “Graffiti Art: An Essay Concerning the Recogni- tion of Some Forms of Graffiti as Art,” Art Crimes: Interviews, Arti- cles, and Research (Fall, 1997), http://sunsite.icm.edu.pl/graffiti// faq/stowers.html. Special thanks for this reference to Kristen Schratz. 204 Notes

6. Paul Goldberger, Frank Stella: Painting into Architecture (New York, New Haven, and London: Yale University Press, in association with the Metropolitan Museum of Art, 2007), 15. 7. Quoted by Diane Solway in “Urban Warriors, High-Tech Metropo- lis,” New York Times (July 22, 2007). 8. From Balmond’s book Informal (Munich: Prestel, 2002), cited in David Owen, “The Anti-Gravity Men: Cecil Balmond and the Structural Engineers of Arup,” New Yorker (June 25, 2007), 72–7. 9. Owen, “The Anti-Gravity Men.” 10. Robert Smithson, “Frederick Law Olmsted and the Dialectical Land- scape,” Artforum, ed. Jack Flam, Robert Smithson: The Collected Writ- ings (Berkeley, Los Angeles, and London: University of California Press, [1973]1996), 164. 11. Ibid. 12. Ibid. 13. Ibid. 14. Jerome Rothenberg, “New Models, New Visions: Some Notes Toward a Poetics of Performance,” in Performance in Postmodern Culture, ed. Michel Benamou and Charles Caramello (Madison: Coda Press), 11–15. 15. I have borrowed here the deﬁnition of Nicolas Bourriaud, in Rela- tional Aesthetics, trans. Simon Pleasance and Fronza Woods with Mathieu Copeland (Dijon: Les presses du réel, 2002). 16. Quoted in Robert Hughes, The Shock of the New,rev.ed.(NewYork: Alfred A. Knopf, 1995), 356. 17. See Arthur C. Danto, After the End of Art: Contemporary Art and the Pale of History (Princeton: Princeton University Press, 1997). Danto argues that art itself has erased the distinction between art and non- art, and that contemporary art is too pluralistic to follow any one master narrative, in contrast to traditional art (depicting windows on imagined scenes), and modern art (representing objects in their own right, of formal, visual interest). My own analysis of the move beyond form might be seen as an important aspect of the pluralism of contemporary art, one that has contributed substantially to eroding the distinction between art and non-art. 18. Brian McHale, Postmodernist Fiction (London and New York: Methuen, 1987), 10–11. 19. See Julio Ortega, “Introduction,” in The Vintage Book of Latin- American Short Stories, eds. Carlos Fuentes and Julio Ortega (New York: Vintage, 2000), xvi. 20. Richard Kearney, ed., States of Mind: Dialogues with Contempo- rary Thinkers (New York: New York University Press, 1995), 112–13. 21. Elizabeth Fallaize, “Hélène Cixous, Stigmata: Escaping Texts ,” Times Literary Supplement, No. 5028 (August 13, 1999), 24. Notes 205

22. Richard J. Bernstein, “An Allegory of Modernity/Postmodernity,” in Working Through Derrida, ed. Gary B. Madison (Evanston: North- western University Press, 1993), 214. 23. Pico Iyer, The Global Soul: Jet Lag, Shopping Malls and the Search for Home (New York: Knopf and London: Bloomsbury, 2000), 24. 24. Robert S. Boynton, “God and Harvard,” The New Yorker (Novem- ber 11, 1996), 73. 25. Ibid. 26. Stanley Hoffman, “On the War,” New York Review of Books (Novem- ber 1, 2001), 4. 27. Hendrik Hertzberg, “Differences,” The New Yorker (December 3, 2001), 37. 28. Anonymous, “US Vows to Defeat Whoever It Is We’re At War With,” The Onion 37 (September 26, 2001), http://www.theonion.com/ content/node/28140. 29. Roland Barthes, Mythologies, trans. Richard Howard (New York: Hill & Wang, 1972), 75. 30. See the Introduction for more on this argument. 31. Quoted in Kearney, States of Mind, 163. 32. Jacques Derrida, “Some Statements and Truisms about Neologisms, Newisms, Postisms, Parasitisms, and Other Small Seismisms,” in The States of ‘Theory’: History, Art, and Critical Discourse, ed. David Carroll (New York: Columbia University Press, 1990), 79. 33. Homi K. Babha, “Cultural Diversity and Cultural Differences,” in The Post-Colonial Studies Reader, ed. Bill Ashcroft, Gareth Grif- ﬁths and Helen Tifﬁn, 2nd ed. (New York and London: Routledge, 1995), 209. 34. Kearney, States of Mind, 162. 35. Some may discern here a parallel to Derrida’s attraction to “literature,” as existing on the border between literature and philosophy, in that sense eluding to a certain degree the constraints of metaphysical thought. My point here is somewhat different from Derrida’s, however, as he is more interested in “literature” that highlights the limitations of language and metaphysical thought, not in literature that offers an alternative way of thinking in part through formal means.

Chapter 2 1. Umberto Eco, The Open Work, trans. Anna Cancogni (Cambridge: Harvard University Press, 1989), 22–3, 19. Originally published as Opera Aperta in 1962. 2. Ibid., 103. 3. Claude Cernuschi, Jackson Pollock: Meaning and Signiﬁcance (New York: HarperCollins, 1992), 139. 206 Notes

4. Burton Roeche, “Unframed Space,” in Jackson Pollock, Interviews, Articles and Reviews, ed. Pepe Karmel (New York: The Metropolitan Museum of Art, 1999), 18–19. 5. John T. Paoletti, “Art,” in The Postmodern Moment: A Handbook of Contemporary Innovation in the Arts, ed. Stanley Trachtenberg (Westport and London: Greenwood, 1985), 59. 6. Ibid. 58–62. 7. Gary Shapiro, Earthwords: Robert Smithson and Art after Babel (Berkeley, Los Angeles, and London: University of California Press, 1995), 77. 8. Quoted in Michael Fried, “Art and Objecthood,” in Minimal Art, ed. Gregory Battcock (New York: Dutton, 1968), 125. 9. Ibid. 10. Ibid., 144–46. 11. Jed Perl, “Postcards from Nowhere,” The New Republic (June 25, 2008), 37. 12. Nicolas Bourriaud, Relational Aesthetics (Dijon: les presses du réel, 2002), argues that contemporary art “takes being-together as a central theme, the ‘encounter’ between beholder and picture, and the collective elaboration of meaning” (15). As will be shown, I regard this as one instance of the move beyond form, but not its whole sig- niﬁcance. Interactivity is important, but artworks are engaged in more philosophical meaning-making as well. 13. Robert Smithson, The Writings of Robert Smithson, ed. Nancy Holt (New York: New York University Press, 1979), 69. 14. Smithson, 197. 15. Smithson, 176. 16. Ibid. See also commentary on this description and the site and nonsite in Shapiro, Earthwords, 56–74. 17. Erin Hogan, Spiral Jetta (Chicago and London: University of Chicago Press, 2008), 135. 18. Jacques Derrida, “Structure, Sign, and Play in the Discourse of the Human Sciences,” in Writing and Difference, trans. Alan Bass (Chicago: University of Chicago Press, 280). 19. Jacques Derrida, “Différance,” in Margins of Philosophy, trans. Alan Bass (Chicago: University of Chicago Press, 1982), 11. 20. Craig Owens, “Earthwords,” in Beyond Recognition: Representa- tion, Power, and Culture, eds. Scott Bryson, Barbara Kruger, Lynne Tillman, & Jane Weinstock (Berkeley, Los Angeles, and Oxford: University of California Press, 1992), 46–7. 21. Shapiro, Earthwords, 80–1, 96–8. 22. Shapiro notes that Smithson does cite Barthes and Lévi-Strauss, and that Derrida’s essay “Structure, Sign, and Play in the Discourse of the Human Sciences” was in a volume on structuralism in Smithson’s library. Shapiro, Earthwords, 81. See also n.18, 247. Notes 207

23. Karen Rosenberg, “Richard’s Arc,” New York Magazine (May 17, 2007), http://www.nymag.com/arts/proﬁles/32110. 24. Carter Ratcliff, “The Fictive Spaces of Richard Serra,” Art in America (December 2007), 118. 25. Quoted in Ratcliff, “Fictive Spaces,” 118. 26. Quoted in Ratcliff, “Fictive Spaces,” 119. 27. Michael Spens, “Living, Looking, Making: Richard Serra and Oth- ers,” http://www.studio-international.co.uk/sculpture/serra/asp. 28. Rosenberg, “Richard’s Arc.” 29. Ibid. 30. Ratcliff, “Fictive Spaces,” 120. 31. Ibid. 32. Sol LeWitt, “Doing Wall Drawings,” in Critical Texts, ed. Adachiara Zevi (Rome: I libri di AEIUO, Incontri Internationale D’Arte, 1994), 95. 33. http://www.massmoca.org/lewitt/walldrawing.php?id=56. 34. Walter Benjamin, “The Task of the Translator,” in Illuminations, trans. Harry Zohn (New York: Schocken, 1968), 73. 35. That is until a retrospective of 105 works was mounted in 2008 by Mass MoCA, which will remain up for at least 25 years, in collaboration with the Yale University Art Gallery, the Williams College Museum of Art, and the LeWitt estate. Here, the desire for endurance to some degree trumps the original conceptual intention. 36. Geoff Edgers, “The Writing on the Wall,” Boston Globe (November 2, 2008), quoting the director of Mass MoCA, Joseph C. Thompson. 37. http://www.millenniumpark.org/artandarchitecture/cloud_gate. html 38. I am indebted here to the brochure of the Kapoor exhibit at the Institute of Contemporary Art, Boston, MA, 2008, written by chief curator Nicolas Baume. 39. Ibid. 40. Much of Donovan’s work is untitled. 41. Quoted by Diane Solway, in “Grand Illusion,” W (September, 2008). 42. Alfred Frankenstein, in the San Francisco Chronicle, quoted by Alex Ross, The Rest Is Noise (New York: Farrar, Straus and Giroux, 2007), 540. 43. Jacques Derrida, “Living On: Border Lines,” in Deconstruction and Criticism, 84, cited in Brian Edwards, Theories of Play and Postmodern Fiction (New York and London: Garland, 1998), 216. 44. Jacques Derrida, Writing and Difference (Chicago: University of Chicago Press, 1978), 20. 45. Ibid., 11. 46. Kapoor’s Poetic Laboratory, a documentary ﬁlm present at the Institute for Contemporary Art, Boston, MA, in 2008. 47. Solway, “Grand Illusion.” 208 Notes

48. Derrida, Writing and Difference, 11. 49. Jacques Derrida, The Truth in Painting, trans. Geoff Bennington and Ian McLeod (Chicago: University of Chicago Press, 1987), 73. 50. One might make a similar point about the work of Olafur Eliasson, who like Kapoor works extensively with mirrored surfaces. 51. See Derrida, Truth in Painting, 10–13, 340–444.

Chapter 3 1. Richard Dyer, “A Composer Shows His Roots,” Boston Globe (Febru- ary 21, 2003). 2. Richard Kearney, The Wake of Imagination: Toward a Postmodern Culture (Minneapolis: University of Minnesota Press, 1988), 13. 3. http://bso.org/images/conservatory. 4. Dick Gordon, “Tan Dun’s Musical Map,” Interview with Tan Dun and Yo-Yo Ma (February 21, 2003); theconnection.org (2006), http://www.theconnection.org/shows/2003/02/ 20030221_b_main.asp. 5. Rediscovering the Map, Interview with Tan Dun, directed by Uri Gal- Ed, on Tan Dun: The Map, DVD (2004). 6. Maurice Blanchot, The Book to Come, trans. Charlotte Mandell (Stan- ford: Stanford University Press, 2003), 3–10. 7. Ibid., 8. 8. Interview with Tan Dun on Tan Dun: The Map,DVD. 9. Quoted by Ken Smith, Program Notes, Premier Performance of The Map, Boston Symphony Orchestra (February 20–22, 25, 2003). 10. Quoted in the Program Notes, ibid. 11. One movement is called “interlude,” with only text on the screen. There were ten movements, including the interlude, in the premier performance, but only nine are included in the DVD recording by the Shanghai Symphony. 12. http://www.theconnection.org/shows/2003/02/20030221_b_ main.asp. 13. Interview with Tan Dun, Tan Dun: The Map,DVD. 14. Ibid. 15. http://www.theconnection.org/shows/2003/02/20030221_b_ main.asp. 16. Ibid. 17. Mary Lou Humphrey “Tan Dun,” http://www.schirmer.com/ composers/tan_essay.htm, June 1998. 18. Interview with Tan Dun, Tan Dun: The Map,DVD. 19. Humphrey, “Tan Dun.” http://www.schirmer.com/composers/tan_ essay.htm, June 1998. 20. http://www.theconnection.org/shows/2003/02/20030221_b_ main.asp Notes 209

21. Ibid. 22. Quoted by Richard Dyer in “Connecting Nations with the Silk Road for Yo-Yo Ma, Concerts Are Just One Part of a New Project,” Boston Globe (November 10, 2000). 23. Ibid. 24. Barbara Mittler, Dangerous Tunes: The Politics of Chinese Music in Hong Kong, Taiwan, and the People’s Republic of China since 1949 (Wiesbaden: Harrassowitz Verlag, 1997), 355. 25. Ibid., 354–55. 26. Root: Tan Dun’s Dialogue with His Hometown, directed by Sheng Bo- ji, on Three Takes on Minority Culture, DVD (2000). 27. Ibid. 28. Barbara Mittler points out that because of the Cultural Revolution, younger Chinese composers sent to the countryside were exposed to folk music that had not been filtered through Western musical forms, unlike the officially “Chinese” music favored by the establishment, which was actually a hybrid form. Mittler, Dangerous Tunes, 294–97, 356–57. 29. Dyer, “A Composer Shows His Roots.”. 30. http://www.theconnection.org/shows/2003/02/20030221_b_ main.asp. 31. Tan Dun in Tan Dun: The Map,DVD. 32. Blanchot, The Book to Come, 3–10. 33. Quoted by Ken Smith, Program Notes. 34. Quoted on the video screen during the performance of The Map, Boston Symphony Orchestra (February 20–22, 25, 2003). 35. http://www.theconnection.org/shows/2003/02/20030221_b_ main.asp. 36. Ibid. 37. Interview with Tan Dun, Tan Dun: The Map,DVD. 38. Ibid. 39. Quoted in David Henry Hwang, “In Today’s World, Who Represents the ‘Real’ China?” New York Times (April 1, 2001). 40. Interview with Tan Dun, Tan Dun: The Map,DVD. 41. Quoted in Hwang, “In Today’s World.” 42. Ibid. 43. Jacques Derrida, “The Villanova Roundtable: A Conversation with Jacques Derrida,” in Deconstruction in a Nutshell, ed. John D. Caputo (New York: Fordham, 1997), 14. 44. Hwang, “In Today’s World.” 45. Paul Griffiths, “Music; Writing Music That Sighs, Cries, Screams and Prays,” New York Times (October 27, 2002). 46. Ibid. 47. Ibid. 48. Quoted in David Weininger, “Rediscovering His Passion,” Boston Globe (March 26, 2010). 210 Notes

49. Bo-ji, Root: Tan Dun’s Dialogue with His Hometown. 50. Quoted in Richard Dyer, “A Cultural Exchange along the Silk Road,” Boston Globe (September 26, 2004).

Chapter 4 1. J. M. Coetzee, Diary of a Bad Year (New York: Penguin, 2007), 21. 2. Anya’s boyfriend looks up Señor C and discovers that he is an author of many books who was born in S. Africa in 1934. Coetzee, Diary of a Bad Year, 50. Coetzee, with an equally long list of titles, was born in S. Africa in 1940. 3. It turns out that Anya is part Australian, but she describes herself as “the little Filipina,” 29.

Chapter 5 1. Tony Kushner, Angels in America,PartOne:Millennium Approaches (New York: Theatre Communications Group, [1992]1993); Angels in America, Part Two: Perestroika (New York: Theatre Communications Group, [1992]1994). 2. Kushner, Millennium Approaches, 54. 3. Despite the Angel’s hermaphroditic nature, Kushner elects to use the feminine pronoun. 4. Kushner, Perestroika, 42. 5. Kushner, Millennium Approaches, 79. 6. Kushner, Perestroika, 142. 7. Kushner, Perestroika, 63. 8. Kushner, Millennium Approaches, 94. 9. Kushner, Perestroika, 122. 10. Echoing the story of Jacob in Genesis, Joe describes his struggle with his homosexual nature, in the face of his Mormon faith, in terms of a homoerotic dream of wrestling with an angel. Prior too wrestles with an Angel, and like Jacob sought the blessing of “more life.” 11. Kushner, Perestroika, 146. 12. I owe this insight to Kaytlin Lapsa. 13. Kushner, Perestroika, 76. 14. Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning, and the New International, trans. Peggy Kamuf (New York and London: Routledge. 1994), 59. See also the Villanova Roundtable discussion with Derrida in John D. Caputo, ed., Decon- struction in Nutshell: A Conversation with Jacques Derrida,ed.with commentary John D. Caputo (New York: Fordham University Press, 1997), esp. 20–5. 15. Kushner, Perestroika, 144. Notes 211

16. The language of chaos theory might call this phenomenon “sensitive dependence on initial conditions.” From this relatively new science we learn that many seemingly disordered occurrences in nature form patterns, but these patterns cannot be predetermined or encompassed by mathematical models, except after the fact. 17. Kushner, Perestroika, 145. 18. Ibid. 19. Kushner, Perestroika, 144. 20. Afterword, Perestroika, 155. 21. Dennis and Joan M. West “Borders and Boundaries: An Interview with John Sayles,”, Cineaste vol. 22, no. 3 (Summer, 1996): 14. Used with permission in the University of California Berkeley Media Resources Website http://www.lib.berkeley.edu/MRC/sayles.html. 22. Dennis and Joan West, “Borders and Boundaries.” 23. Ibid. 24. Ibid. 25. Ibid. 26. Quoted in Douglas Martin, “Jane Jacobs, Social Critic Who Rede- ﬁned and Championed Cities, Is Dead at 89,” The Death and Life of Great American Cities, New York Times (April 26, 2006). 27. Kushner, Perestroika, 144.

Chapter 6 1. It is my hope here to take up the challenge posed by Richard Kearney in Strangers, Gods, and Monsters. There Kearney defends the possibil- ities of narrative understanding as a form of “diacritical hermeneutics of discernment, committed to the dialogue of self-and-others, [which] wagers that it is still possible for us to struggle for a greater philosophical understanding of Others and, so doing, do them more justice.” Richard Kearney, Strangers, Gods, and Monsters: Interpreting Otherness (New York and London: Routledge, 2003), 232. Though Kearney’s emphasis is on a different aspect of this task (ethical discernment of the nature of the Other), his defense of the narrative imagination’s poten- tial contribution to dialogue between self and other bears similarities to the aims of this chapter. 2. Carlos Fuentes, The Crystal Frontier: A Novel in Nine Stories, trans. Alfred MacAdam (New York: Farrar, Straus and Giroux, 1995), 84–5. 3. Jacques Derrida’s response to Jean-Luc Marion, in John D. Caputo and Michael J. Scanlon, ed. God, the Gift, and Postmodernism (Bloom- ington and Indianapolis: Indiana University Press, 1999), 44. 4. Jacques Derrida, Given Time: I. Counterfeit Money, trans. Peggy Kamuf (Chicago and London: University of Chicago Press, 1992), 13. 5. Ibid., 15. 212 Notes

6. Richard Kearney, “Desire of God,” in God, the Gift, and Postmod- ernism, ed. John D. Caputo and Michael J. Scanlon (Bloomington and Indianapolis: Indiana University Press, 1999), 128–29. 7. Jacques Derrida, Limited, Inc. trans. Jeffrey Mehlman and Samuel Weber (Evanston: Northeastern University Press, 1988), 93. 8. Jacques Derrida, “Some Statements and Truisms about Neologisms, Newisms, Postisms, Parasitisms, and Other Small Seisms,” in The States of ‘Theory’: History, Art, and Critical Discourse, ed. David Carroll (New York: Columbia University Press, 1990), 85–6. 9. Jacques Derrida, Specters of Marx, the State of the Debt, the Work of Mourning, and the New International, trans. Peggy Kamuf (New York and London: Routledge, 1994), 20–1. 10. Jacques Derrida, “The Villanova Roundtable,” in Deconstruction in a Nutshell: A Conversation with Jacques Derrida, ed. with commentary by John D. Caputo (New York: Fordham University Press, 1997), 17. 11. It is “all but” wholly other in so far as it is linked by a thin thread to what it is not—the economy of exchange. 12. Derrida, Specters of Marx, 21. 13. Ibid., 89. 14. Angela Carter, The Passion of New Eve (London: Virago, 1982), 8. 15. Carter made clear in The Sadian Woman that she took a dim view of all myths, including so-called positive myths of women. “All the mythic versions of women,” she wrote, “the myth of the redeeming purity of the virgin to that of the healing, reconciling mother, are consolatory nonsenses; and consolatory nonsense seems to me a fair deﬁnition of myth, anyway. Mother goddesses are just as silly a notion as father gods.” (Cited in Linden Peach, Angela Carter (New York: St. Martin’s Press, 1998), 9). 16. Simone de Beauvoir, The Second Sex,trans.H.M.Parshley(NewYork: Vintage, [1952]1989), xxix. 17. In The Poetics of Imagining, Richard Kearney arrives at a related conclusion. By evaluating versions of radical hermeneutics, he calls for an intermediary course between the extremes of existential theories of sovereign subjectivity and structuralist theories of anonymous linguis- tic systems. This version of radical hermeneutics would posit a concept of the imaginative interpreter who is neither a mere effect nor a self- sufﬁcient origin, one who knows, with Ricoeur, that “the shortest root [sic] from self to self is through the images of others.”Richard Kearney, The Poetics of Imagining: Modern to Post-modern (New York: Fordham University Press, 1998), 185–88, esp. 188. 18. On the different but somewhat parallel subject of the constitution of the subject in language, Judith Butler writes, “then it follows that this will be a constitution in time and that the ‘I’ or ‘we’ will neither be fully determined by language nor radically free to instrumentalize language as an external medium. Notes 213

To be constituted by language is to be produced within a given network of power/discourse which is open to resigniﬁcation, rede- ployment, subversive citation from within, and interruption and inadvertent convergences with other such networks. ‘Agency’ is to be found precisely at such junctures where discourse is renewed.” Judith Butler, “For a Careful Reading,” in Feminist Contentions: A Philo- sophical Exchange, intro. Linda Nicholson, ed. Seyla Benhabib, Judith Butler, Drucilla Cornell, and Nancy Fraser (New York and London: Routledge, 1995), 135. It is true that Butler (elsewhere) asserts “the transformation of social relations becomes a matter, then, of transforming hegemonic social conditions rather than the individual acts that are spawned by those conditions.” From “Performative Acts and Gender Constitu- tion: An Essay in Phenomenology and Feminist Theory,” in Sue-Ellen Case, ed. Performing Feminisms: Feminist Critical Theory and Theatre (Baltimore: John Hopkins University Press, 1990), 276. However Butler’s own concept of performativity admits of the possibility of some maneuverability by individuals. 19. Derrida, “Some Statements and Truisms about Neologisms, Newisms, Postisms, Parasitisms, and Other Small Seisms,” 85–6.

Chapter 7 1. Italo Calvino, Marcovaldo or the Seasons in the City, trans. William Weaver (New York, San Diego, London: Harcourt Brace & Co., [1963]1983). 2. Ada Louis Huxtable, The Unreal America: Architecture and Illusion (New York: The New Press, 1997), 15. 3. Ibid., 75. 4. Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser (Ann Arbor: University of Michigan Press, [1981]1994), 20–1. 5. Jean Baudrillard, Symbolic Exchange and Death,trans.IainH.Grant (London: Sage, [1976]1993), 76. For more on this, see the discussion of Richard Kearney’s TheWakeofImaginationin the introduction. 6. As will be suggested, the conclusion here is not as deﬁnitive as that of Jean Baudrillard, who argues that the real has been so tainted by layers of reproduction that there is no longer any original (or “real”) at all. Accordingly, I have chosen not to employ his phrase the “precession (sic) of simulacra.” See Baudrillard, Simulacra and Simulation, 1–42. 7. See Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan (New York: Vintage, [1975]1979), passim. 8. See Jacques Derrida, “White Mythology,” Margins of Philosophy, trans. Alan Bass (Chicago: University of Chicago Press, [1972]1982), translator’s n. 73, 262. 214 Notes

9. In this summing up, I have drawn especially on the work of Derrida, especially his treatment of the iterative structure of Plato’s Khõra, 89–127, in On the Name, ed. Thomas Dutoit (Stanford: Stanford University Press, [1993]1995). See also John Caputo, Deconstruc- tion in a Nutshell: A Conversation with Jacques Derrida, ed. John D. Caputo (New York: Fordham University Press, 1997), ch. 3. I have also been informed by the treatment of mettre en abîme in Brian McHale’s Postmodernist Fiction, 124–28 and in Brian McHale, Con- structing Postmodernism (New York and London: Routledge, 1992), 155–57. 10. Quoted in Robert Hughes, The Shock of the New (New York: Knopf, 1981), 357. 11. See also Michel Foucault, This Is Not a Pipe, ed. and trans. James Harkness (Berkeley: University of California Press, [1973]1983); Michel Foucault, “Theatricum Philosophicum,” in Language, Counter-Memory, Practice, ed. Donald Bouchard, trans. Bouchard and Sherry Simon (New York: Cornell University Press, 1977), 165–96; and Jacques Derrida, “The Double Session,” Dissemina- tion, trans. Barbara Johnson (Chicago: University of Chicago Press, [1972]1981), 194–95, 206.

Chapter 8 1. Tom Stoppard, Arcadia (London and Boston: Faber and Faber, 1993), 5. Thomasina is anticipating a comment made by LaPlace in 1812, based on the Newtonian system. 2. Julian Barnes, A History of the World in 10½ Chapters (New York: Random House, 1989).

Chapter 9 1. Michael Fried, “Art and Objecthood,” Minimal Art, ed. Gregory Battcock (New York: Dutton, 1968), 116–47. 2. For more extensive commentary, see the introduction. An exception to the general tendency to dismiss the value of postmodern pastiche is Ingeborg Hoesterey, Pastiche: Cultural Memory in Art, Film, Litera- ture (Bloomington and Indianapolis: Indiana University Press, 2001). See also Margaret A. Rose, “Post-Modern Pastiche,” British Journal of Aesthetics vol. 31 (January, 1991): 26–38, and Richard Kearney, Poetics of Imagining: Modern to Post-modern (New York: Fordham University Press, 1998), which is somewhat more hopeful than his Wake of the Imagination, discussed in the introduction. 3. Maurice Blanchot, The Book to Come, trans. Charlotte Mandell (Stan- ford: Stanford University Press, [1959]2003), 8. 4. Charles Mee, “the (re)making project,” http://www.charlesmee.com. Notes 215

5. Ibid. 6. Ibid. 7. Ibid. 8. Most notably in Rosencrantz and Guildenstern Are Dead. 9. Shakespeare in Love (1998) is a particularly effective example of such cinematic tributes to the theater, but one might also cite several others. The same kind of tribute clearly inspired Pedro Almodóvar’s All About My Mother (Todo sobre mi madre) (1999), as well as Kenneth Branagh’s Love’s Labour’s Lost (2000), which marries Shakespeare and musical comedy. 10. Virginia Woolf, Mrs. Dalloway, foreword by Maureen Howard (San Diego, New York and London: Harcourt Brace, [1925]1981), 3, 184. 11. Michael Cunningham, The Hours (New York: Farrar, Straus and Giroux, 1998), 9, 199–203. 12. Woolf, Mrs. Dalloway,3. 13. Quoted by Maureen Howard in the foreword to Mrs. Dalloway (1981), xi. 14. Ibid. 15. Cunningham, The Hours, 34–5. 16. Mrs. Dalloway, 3, quoted in Cunningham, The Hours, 41. 17. Woolf, Mrs. Dalloway, 153. 18. Cunningham, The Hours, 44. 19. Woolf, Mrs. Dalloway, 35–6. 20. Blanchot, Book to Come,8. 21. Virginia Woolf, “Mr. Bennett and Mrs. Brown,” in Essays of Virginia Woolf, ed. Andrew McNeillie (San Diego, New York and London: Harcourt Brace Jovanovich, 1988), III: 388. 22. Quoted by Maureen Howard in the foreword to Mrs. Dalloway (1981), xi. 23. Cunningham, The Hours, 167–72, 195–200. 24. Note that Stephen Daldry’s film version of The Hours transposes this reflection from its place at the end of the novel to an earlier scene, and ends with a repeated image of Woolf’s suicide. Both changes substantially alter the tone of the novel, which continually counters despair and tragedy with the affirmation of life. 25. Cunningham, The Hours, 225. 26. For informing my treatment of the themes of death and literature I owe a general debt to J. Hillis Miller, “Mrs. Dalloway: Repetition as the Raising of the Dead,” in Virginia Woolf’s Mrs. Dalloway,ed. Harold Bloom (New York, New Haven, and Philadelphia: Chelsea House, 1988), 79–101. 27. August 30, 1923, cited in the epigraph of Cunningham, The Hours. 28. Jorge Luis Borges, “The Other Tiger” (1960), cited in the epigraph to The Hours. See also Borges, Dreamtigers [El Hacedor, 1960], trans. Mildred Boyer and Harold Morland (Austin: University of Texas Press, 1985), 70–1. 216 Notes

29. Albero Manguel, “An Endless Happiness: How Borges Throws Open the Doors of the Universal Library,” Times Literary Supplement (February 18, 2000), 12. 30. Czeslaw Milosz, “Against Incomprehensible Poetry”, in To Begin Where I Am: Selected Essays, ed. Bogdana Carpenter and Madeline G. Levine (New York: Farrar, Straus and Giroux, [1990]2001), 378. 31. Quoted by Maureen Howard in the foreword to Mrs. Dalloway (1981), ix. 32. Italo Calvino, If on a Winter’s Night a Traveler, trans. William Weaver (New York: Harcourt Brace & Company, [1979]1981), 181. 33. Ibid., 153. 34. Ibid., 72. 35. As Derrida has written about the cultural tradition, “one always inher- its from a secret—which says ‘read me, will you ever be able to do so?’ ” Specters of Marx, the State of the Debt, the Work of Mourning, and the New International, trans. Peggy Kamuf (New York and London: Routledge, 1994), 16. 36. Ibid. 37. Cunningham, The Hours, 210. 38. An earlier version of part of this chapter may be seen in Mary Joe Hughes, “Michael Cunningham’s The Hours and Postmodern Artis- tic Re-Presentation” Critique: Studies in Contemporary Fiction 45:4 (June 2004), 349–61.

Conclusion 1. J. Henrich, S. J. Heine, and A. Norenzayan, “Most People Are not WEIRD,” Nature vol. 466 (July 1, 2010), doi:10.1038/466029a. 2. Jane Jacobs, The Nature of Economies (New York: Modern Library, 2000), 32. I am indebted to Pat Byrne for his paper on Ecology, Econ- omy and Redemption as Dynamic: The Contributions of Jane Jacobs and Bernard Lonergan, delivered at a conference on environmental ethics at Notre Dame (February, 2002). 3. Quoted from The Death and Life of Great American Cities by Douglas Martin in “Jane Jacobs, Social Critic Who Redeﬁned and Championed Cities, Is Dead at 89,” The New York Times (April 26, 2006). 4. Holland Cotter, “Beyond Multiculturalism, Freedom?” New York Times (July 29, 2001). 5. Ibid. 6. Ibid. 7. Emmanuel Levinas, Alterity and Transcendence, trans. Michael B. Smith (New York: Columbia University Press, 1999), 87. 8. Jacques Derrida, On Cosmopolitanism and Forgiveness,trans.Mark Dooley and Michael Hughes (New York and London: Routledge, [1997]2001), 39, 45. Notes 217

9. In fact the implication here is that the author is not dead, but is both actor and acted upon. 10. Roland Barthes, “From Work to Text,” in Image-Music-Text (New York: Farrar, Straus and Giroux, 1977), 155–64. 11. Erin Hogan, Spiral Jetta (Chicago and London: University of Chicago Press, 2008), 168–69. 12. See Don Tapscott and Anthony D. William, Wikinomics: How Mass Collaboration Changes Everything (New York: Portfolio, 2006). 13. For more on this, see Matt Bai, “The Presidency, Chained to the World,” New York Times (September 12, 2010). 14. Henrich et al., “Most People Are Not WEIRD.” 15. Ihab Hassan, The Dismemberment of Orpheus: Toward a Postmodern Literature (New York: Oxford University Press, 1971), 269. Bibliography

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Notes: Locators followed by ‘n’ refer to note numbers

Adaptation (film, Jonze), 24–5 artist’s role agency, 13, 145–6, 196 co-creator, 200 interdependency and, 72, 74–5, cultural dialogue, 57 76–7 interaction between artist and language and, 213n20 others, 78, 171–3, 180–5 Alexie, Sherman, 121 intercessor, 49–50 All About My Mother (film, metaphors of, 178–9 Almodóvar), 215n9 remaking and, 185, 186, 187–9 Almodóvar, Pedro, 215n9 shaman, 59, 64–5 Angels in America (Kushner), 81–2, see also collaborative creation 82–94, 100–1, 196 Arup (structural engineering firm), Millennium Approaches, 82–5, 19–20 93, 107 audience/viewer interaction, 18, Perestroika, 82, 85–94 192, 197 Arcadia (Stoppard), 151–2, artistic surrender and, 151–2 152–61 collaboration in simulation, 129, order-disorder tension, 153–5, 140–141, 143–144, 145–148 156, 157–8 mirroring and, 103–4, 142–3, structure, 152–3, 157, 159, 161, 143–6, 147, 176–7 166 remaking and, 173, 184 truth, 159–61, 196–7 in theater, 22, 36, 173 architecture, 17, 19–20, 32 in visual arts, 20–1, 36–7, 41–2, artistic control, 14 43–4 earthwork arts and, 44 influences on artist and, 69, 70–1, balance, 54, 60, 156 77–9 see also myth/counter-myth vs. pastiche, 50–1 structure poststructuralism and, 5, 6, 31 Balmond, Cecil, 19–20 surrender of, 1, 20, 103, 151–2, Barnes, Julian, 151–2, 161–5 200 Barthes, Roland technology and, 199 death of author, 6, 7, 14 see also artist’s role; collaborative essentialism/rational thought, 31 creation work to text transition, 6–7, 8, artistic quality, 50, 171 197 228 Index

Basquiat, Jean-Michel, 18 boundary between fact and ﬁction, Baudrillard, Jean, 131, 148, 214n7 blurring of Being John Malkovich (ﬁlm, Jonze), Adaptation, 24–5 24–5 Diary of a Bad Year, 67–8, Benjamin, Walter, 43 79, 81 beyond, the, 13, 191–2 The Hours, 184–5 deconstruction and, 8–9, 82, 101, Marcovaldo, 139–40 109, 111–12, 195–6 The Truman Show, 142–3, as dissolution of boundaries 146 between people, 87–90, see also reality, blurred boundary 91–2, 100–1 with simulation forgiveness and, 90, 101, 109, Bourriaud, Nicolas, 22, 206n12 197 Branagh, Kenneth, 215n9 the gift and, 109–10 Brandy Wine (Kapoor), 44 imagination and, 93 Butler, Judith, 212–13n20 language and, 14–15, 193–5 mirroring device and, 12, 103–4, Cage, John, 36, 56 112, 117–20, 124–6, 127 Cage, Nicholas, 25 multiculturalism and, 100, 193–4 Calvino, Italo, 132, 140, 187–8 perspective and, 108–9 see also Marcovaldo (Calvino) Bhabha, Homi, 33 capitalism, 129 bin Laden, Osama, 29 appropriation of resistance, 132, 136–7, 138, 143, 144–5, Blanchot, Maurice, 52, 58, 170, 186 146, 198 Bluffs (Donovan), 45 consumerism, 5–6, 25–6, 105–6, The Book to Come (Blanchot), 52 132–40 Borges, Jorge Luis, 27, 186 vs. interdependency, 72–3, 75–6 boundaries between people Caroline, or Change (Kushner), 82 changes with time/interaction, Carter, Angela, 112–13, 212n17 125–6 see also The Passion of New Eve forgiveness and, 88–9 (Carter) historical reinforcement of, Central Park (New York), 20–1, 22 98–100, 101 chaos theory, 152–3, 157–9, hybrid identities, 27–8 211n16 inaccurate assumptions about, cities, 2, 100 96–7, 97–8, 100 Cixous, Hélène, 27 individualism and, 83–4, 93–4 Cloud Gate (Kapoor), 43–4, 48, vs. intermingling, 84–5, 89, 91–2, 104, 127 99 Coetzee, J. M., 26, 68, 72, 210n3 invisible/unseen alliances, 98, see also Diary of a Bad Year 99–100 (Coetzee) multiculturalism and, 193–4 Cohn, Roy, 84, 89 solidarity amidst diversity, 86–7, collaborative creation 89–90, 192 artistic surrender and, 1, 151–2, see also identity politics 200 Index 229

musical composition, 57, 61–2 deconstruction, 3, 197 musical improvisation, 49–50, 54, ahistoricity of, 31–2 55–6, 63, 64, 103 the beyond and, 8–9, 82, 101, pursuit of knowledge, 152–3, 109, 111–12, 195–6 160, 166–7, 196–7 vs. logic, 33–4 theater, 61–2, 93–4, 171–3 messianism, 89–90 urban renewal, 2 mirroring and, 108 visual arts, 19–20, 42–3 myth/counter-myth structure, see also artistic control; artist’s 126–7 role; audience/viewer otherness and, 33 interaction; interdependency postmodernism and, 7–9, 10 Cotter, Holland, 193–4 see also Derrida, Jacques; rational Cristo, 18 systems, challenges to Crouching Tiger, Hidden Dragon democracy, 93, 94, 100, 198 (Lee), 61 de-realization. see under reality, The Crystal Frontier (Fuentes), blurred boundary with 104–12, 120 simulation “The Crystal Frontier,” 107–9, Derrida, Jacques 111–12 the beyond, 8–9, 13, 101, 109, “Spoils,” 105–7 111–12 cultural authenticity, 60, 62, boundaries, 40 209n28 cultural background of, 27 cultural exchange, 60–1, 61–2, 63–4 cultural tradition, 216n35 see also Silk Road phenomenon deferral of meaning, 7–8, 31 Cultural Revolution (China), frames, 47 209n28 the gift, 109–10, 111 Cunningham, Michael, 178, 183, the inheritance, 188 186 iterative structures, 214n10 see also The Hours (Cunningham) justice, 93, 110–11 limits of metaphysics, 197 Daldry, Stephen, 215n24 literature, 213n21 Dances With Wolves (film, Costner), madness of the impossible, 8, 13, 123 33–4, 195 Danto, Arthur C., 204n17 messianism, 90 Dao ji (On Taoism, Tan), 55–6 parallels in theory with death (as theme) postmodern arts, 8–9, 15, Angels in America, 89, 92 31–3, 39–40, 46–8, 62 Diary of a Bad Year, 69, 70, 77, subjectivity, 126–7 78 text, 48 Hamlet, 111 writing, 46, 186 The Hours/Mrs. Dalloway, see also deconstruction; rational 178–83, 184–5 systems, challenges to The Death and Life of Great development, economic, 192 American Cities (Jacobs), 2, Dia Center for the Arts (New York), 192 41 230 Index dialogue Foster, Hal, 4, 5–6 the beyond and, 194–5, 196 Frankenstein, Alfred, 45 between musical traditions, 49, Fried, Michael, 37, 169 50, 53–4, 57–8, 63–4, 103, Fuentes, Carlos, 104, 117 199 see also The Crystal Frontier between postmodernist work and (Fuentes) outside works, 4, 22, 173, future, the 177 artistic creation and, 46, 188 between self and other, 211n1 deconstruction and, 9, 195–6 see also remaking plunge imagery and, 178–9 Diary of a Bad Year (Coetzee), predictability/unpredictability 67–79, 196 of, 154, 157, 158–9, 161, death theme, 69, 70, 77, 78 164 fiction-nonfiction boundary remaking and, 173, 177, 185 blurring, 67–68, 79, 81 unthinkability of, 90, 91, 92–3 mind-body connection, 71, see also beyond, the; 73–4 past/present/future moral distinctions, 71–5, 76–7, relationship 81, 104, 121, 152, 198 structure, 67–9, 71, 73, 78 Diller, Elizabeth, 19 Gagosian Gallery (New York), 41 Donovan, Tara, 44–5, 46, 47 Gehry, Frank, 17 Duchamp, Marcel, 26 gender, myths of, 112–13 Dun, Tan. see Tan Dun ideal woman, 113–16, 212n17 Dyer, Richard, 50, 57 moves beyond, 116–20 Gibson, Andrew, 10 earthwork art (Land Art), 18, 20–2, gift, the, 109–10, 111 38–40, 39, 44, 197 Glass, Philip, 45 see also Serra, Richard; Smithson, globalization, 23, 29, 32, 64 Robert Goldberger, Paul, 18–19 Eco, Umberto, 35 Goldsworthy, Andy, 18 Edwards, Brian, 10 Golijov, Osvaldo, 62–3, 65 “English literature,” 26–7 Gomes, Peter, 28 Eyre, Chris, 104, 121–6 Google, 198 graffiti art, 18 faith, 90, 123–4, 162, 187 Greenberg, Clement, 35 feminism, 112–13, 116, 175 Gregson, Ian, 10 fiction. see boundary between fact and fiction, blurring of; reality, Guantanamo Bay detention camp, blurred boundary with 74, 75 simulation Guggenheim Museum (Bilbao), 17, Flamand, Frédéric, 19 41 forgiveness, 9 the beyond and, 90, 101, 109, Hamlet (Shakespeare), 110–11, 174 197 Hassan, Ihab, 200 justice and, 88, 89 Hertzberg, Hendrik, 29–30 Index 231 history, 5–6 imagination ahistoricity of deconstruction, the beyond and, 93 31–2 lack of, 5, 11–12, 14, 169–70 hybridity and, 28 medial spaces and, 13 inaccurate/incomplete records, remaking and, 169–70, 172 156, 160–1, 166 In C (Riley, 1964), 45, 46 perspective and, 96, 162–3 individualism, inadequacy of, 83–4, postmodernism and, 26, 170 86–7, 91–2, 93–4, 100 predictable patterns of, 153, innovation, 5, 9 156–7, 157–8, 161–3, 165 Institute for Contemporary Art remaking and, 169–170, 171 (Boston), 47 resurfacing of, 98–9, 101 interdependency, 68–9, 71, 79, 81, structure of, 151, 159, 163 173, 198, 200 agency and, 72, 74–75, 76–77 see also past/present/future vs. capitalism, 72–73, 75–76 relationship Internet, the, 25, 61, 173–4, A History of the World in 10½ 198–200 Chapters (Barnes), 151–2, Iris (Kapoor), 44 161–5, 166–7, 196–7 Iyer, Pico, 27 Hoffman, Stanley, 29 Hogan, Erin, 39, 197 Jacobs, Jane, 2, 100, 192 The Hours (Cunningham), 170, Jameson, Frederic, 4, 5 177–9, 180–5, 185–7 Jencks, Charles, 4 The Hours (film, Daldry), 215n24 Judd, Donald, 36 Hunan, China. see The Map (Tan) justice, 84 Hutcheon, Linda, 4–5, 203n51 the beyond and, 93, 101, 109, Huxtable, Ada Louise, 130 111, 197 Hwang, David Henry, 61, 170 forgiveness and, 88, 89 hybridity vs. individualism, 86 in artists’ personal heritage, 26–9, vs. vengeance, 110–11, 116 62 as Bhabha’s “Third Space,” 33 Kant, Immanuel, 75, 76, 78 as characteristic of postmodern Kapoor, Anish, 43–4, 46, 47–8, 104 work,2–3,100 Kaprow, Allan, 36 cultural authenticity and, 60, 62, Kearney, Richard 209n28 the gift, 110 literature-theory relationship, cultural dialogue and, 61 213n21 postmodernity and, 131 postmodernist decline, 10–13, 14, 51 identity politics, 28, 81–2, 83, 85–6, radical hermeneutics, 211n1, 98, 193–4 212n19 see also boundaries between Kensington Gardens (London), people 19–20 If on a Winter’s Night a Traveler Koolhass, Rem, 19 (Calvino), 187–8 Krasner, Lee, 17 232 Index

Kushner, Tony, 82, 93–4 “Santa’s Children,” 132, 134, see also Angels in America 137, 139–40 (Kushner) “Smoke, wind, and soap-bubbles,” 135–6 Land Art (earthwork art), 18, 20–2, structure, 132–3, 138 38–40, 39, 44, 197 “Where the river is more blue?”, see also Serra, Richard; Smithson, 133–4 Robert Marx, Karl, 93–4 language, structure of, 191 M. Butterfly (Hwang), 170 the beyond and, 14–15, 193–5 McHale, Brian, 4, 26, 214n10 deconstruction and, 31–2 hybridity and, 28 media, the, 23, 198 naming, 30 medial spaces. see beyond, the; privileging of subject, 6, 110, boundary between fact and 112, 120, 127, 212–13n20 fiction, blurring of; hybridity; the unwritable and, 187–8 mirroring; move beyond form La Pasión Según San Marcos (defined/described); reality, (Golijov), 62–3 blurred boundary with Lee, Ang, 61 simulation Levinas, Emmanuel, 194–5 Mee, Charles, 170, 171–4, 176–7, LeWitt, Sol, 42–3, 45 185 Libeskind, Daniel, 19 memory, 56–7, 58, 60, 188 Lincoln (film, Kushner), 82 messianic, the, 90, 109, 111 Living Theater, 22 messianism, 89–90 London bombings (2005), 30 Metropolitan Museum of Art (New Lone Star (film, Sayles), 81–2, York), 18–19 94–100 Miller, J. Hillis, 216n26 Love’s Labour’s Lost (film, Milosz, Czeslaw, 186–7 Branagh), 215n9 minimalism, 36, 40, 42, 44–5 mirroring, 108, 198 Ma, Yo-Yo, 54–5, 61, 64 audience interaction and, 103–4, Madden, John, 170, 174–7 142–3, 143–6, 147, 176–7 The Map (Tan), 49–61 the beyond and, 12, 103–4, 112, as cultural dialogue, 50, 53, 64, 117–20, 124–6, 127 103, 199 boundary dissolution and, 112, inspiration for, 49, 51–2, 59 139–40, 141, 143–5 memory, 56–7, 58, 60 past-future relationship, 49–50, criticism of, 11–12 51, 52, 53–4, 58–59, 60, 170 de-realization and, 145–6 Marcovaldo (Calvino), 129, 132–40, gender stereotypes and, 114–15, 147–8, 196, 198 116, 119 “The forest on the myth/counter-myth structure superhighway,” 133 and, 107, 114, 121, 122–3 “Marcovaldo at the supermarket,” play within a play motif, 174–7 134–5, 138–9 in visual arts, 43–4, 47–8 “Moon and GNAC,” 134, 136–7 Mittler, Barbara, 56, 209n28 Index 233 modernism, 9, 11, 17, 35, 187, Oldenburg, Claes, 26, 36, 204n17 148 Morris, Robert, 36 Olmsted, Frederick Law, 20–1, 22 Moses, Robert, 2 Ong Keng Sen, 61, 62 move beyond form Onion (magazine), 30 (defined/described) Online Conservatory, 53, deconstruction and, 33–4, 196, 173–4 197 Open Geometric Structure 3 Internet analogy, 198–200 (LeWitt), 45 medial spaces and, 1–2, 3, 191–2, The Open Work (Eco), 35 196 oral traditions, Native American, Mrs. Dalloway (Woolf), 170, 124, 126 177–84, 186 Other, the multiculturalism, 59 deconstruction and, 33 the beyond and, 100, 193–4 ethical responsibility to, 195 dialogue and, 63–4 justice and, 110–11 vs. hybridity, 27–8, 60–1 medial spaces and, 127 limitations of, 28, 50–1, 178, 193 myths and counter-myths of, 104, Munich (film, Kushner), 82 105–7, 110, 124, 125 Museum of Modern Art (New York self-Other City), 40–2 dialogue/understanding, museums/galleries, 18, 25–6, 38, 103, 109, 112, 118–20, 121, 40–1, 43 196, 211n1 myth/counter-myth structure, Owens, Craig, 9, 40 126–7 The Crystal Frontier, 104, 105–7, parody, 3, 4–5, 51, 126 109, 110, 111, 112 The Passion of New Eve (Carter), Passion of New Eve, 112, 114, 104, 112–20, 198 117–18, 119–20 Past, Present, Future (Kapoor), 44 Smoke Signals, 121–6 pastiche, 2, 6, 50–1, 169, 171, 214n2 national borders, 26–7, 29, 199 past/present/future relationship National Gallery of Art Angels in America, 90 (Washington, D.C.), 18 Arcadia, 151, 160 Native Americans, myths of, The Hours/Mrs. Dalloway, 121–6 178–80 The Nature of Economies (Jacobs), Lone Star, 95, 97–8, 98–9 192 The Map, 49–51, 52, 53–4, 58–9, Niccol, Andrew, 144–5 65 nonfiction. see boundary between postmodern replication, 5, 25 fact and fiction, blurring of; remaking and, 170, 173, 177, reality; reality, blurred boundary 185, 188 with simulation see also history Norman, Marc, 174 perfection, 186, 188 noumenal world, 75, 79 Perl, Jed, 37 234 Index perspective/point of view poststructuralism, 8, 31, 32 vs. absolute relativism, 164–5, postmodernism and, 5, 6–7, 167 9, 10 de-realization and, 129–30, see also rational systems, 142–3 challenges to destabilization of self/other Primary Colors (film, Nichols), 24 boundary, 107–9, 111–12, 118–20, 121 radical hermeneutics, 211n1, history and, 96, 162–3 212n19 postmodern re-presentation and, Ratcliff, Carter, 42 170 rational systems, challenges to reversal of, 106–7, 108, 117, the beyond and, 91, 194, 195, 162–3 197 truth and, 162, 163, 165, deconstruction, 8, 12, 14, 47, 90, 166–7 100–1, 127, 197 see also myth/counter-myth disorder, 153, 154, 155 structure medial spaces and, 34, 196 pluralism, 6, 87, 193, postmodernity, 30–1 204n17 Rauschenberg, Robert, 36 point of view. see perspective/point reality of view vs. appearances, 72, 76 Pollock, Jackson, 17, 35–6 deconstruction and, 9 pop art, 25–6, 36 gender myths and, 114 pop culture, 2, 6, 13–14, vs. imagination, 11 24, 131 postmodernity and, 24, 26, 30 “Postblack Art,” 193–4 see also history; reproduction of postmodernism, 2–15, 60, 126, 200 images; truth acknowledgment of artistic reality, blurred boundary with limitations, 186–7, 188–9 simulation, 148, 162, artistic borrowing and, 11–12, 214n7 170, 178, 185 in artistic representation of real criticism of, 3–4, 5–6, 7–13, world, 155–6 13–14, 100, 131, 169 audience/viewer collaboration in deconstruction and, 7–9, 10 simulation, 129, 140–1, defined, 2–3 143–4, 145–8 history and, 26, 170 hybrid zone of de-realization, medial space and, 3–5, 8, 13 129–30, 132–3, 137–8, poststructuralism and, 5, 6–7, 9, 142–3, 145–6, 148–9 10 as postmodernist artistic style, 86, postmodernity, 23–31, 60–1, 131, 100 197–8, 199–200 theoretical background, Postmodern Literature (Gregson), 130–1 10 see also boundary between fact and The Postmodern Moment fiction, blurring of; history; (Trachtenberg), 9 reproduction of images; truth Index 235 rebellion/resistance Sayles, John, 81–2, 94–100 capitalist appropriation, 132, Schola Cantorum de Caracas, 63 136–7, 138, 143, 144–5, Scofidio, Ricardo, 19 146, 198 S-Curve (Kapoor), 44 critique of art’s capacity Seaside, Florida, 141 for, 6 September 11, 2001 attacks, 29 mirroring and, 146–7 Sequence (Serra), 41–2 Recodings (Foster), 5–6 Serra, Richard, 20, 40–2, 43, 47 Reich, Steve, 45 Shakespeare, William, 110–11, relativity, 107, 108, 117, 162 174 absolute, 164–5, 167 Shakespeare in Love (film, Madden), truth and, 151, 161, 163, 164–5, 170, 174–7, 185 196–7 Shalimar the Clown (Rushdie), 23 remaking, 16, 25–6, 169–89 Shapiro, Gary, 36, 40 art’s limitations and, 188–9 Sheng, Bright, 60, 61–2 history and, 169–70, 171 silence, 56, 170 If on a Winter’s Night a Traveler, Silk Road phenomenon 187–8 compared with contemporary Mee’s (re)making project, 170, cultural dialogue, 53, 55, 171–4, 176–7, 185 57–8, 64, 173–4, 199–200 Shakespeare in Love, 174–7 cultural authenticity and, 60 see also The Hours (Cunningham) as inspiration for contemporary repetition, 44–5, 131, 163 cultural dialogue, 54, 56 reproduction of images, 129 Silk Road project, 55, 61, 64 capitalism/consumerism and, 5, Silver River (Sheng), 61–2 6, 25–6 simulation. see reality, blurred criticism of, 50–1 boundary with simulation mirroring and, 147 Smiley, Jane, 170 reality vs. simulation and, 131, Smithson, Robert 214n7 on Olmsted’s parks, 20–2 resistance. see rebellion/resistance site-nonsite dialectics, 18, 38–40, Rhys, Jean, 170 43, 46 Riley, Terry, 45, 46 Spiral Jetty, 38, 40, 65 Rilke, Rainer Maria, 119 Smoke Signals (film, Eyre), 104, Romeo and Juliet (Shakespeare), 121–6 174–7 social change, 81, 82 Roof (Goldsworthy), 18 space, 19, 36, 40–1, 42, 43–4 Rosenberg,Ethel,89 Specters of Marx (Derrida), 110–11 Rothenberg, Jerome, 22 Spiral Jetty (Smithson), 38, 40, 65 Rushdie, Salman, 23, 26 Stella, Frank, 18–19 Stirling, James, 19 The Sadian Woman (Carter), Stoppard, Tom, 152–3, 161, 174 212n17 see also Arcadia (Stoppard) SAMO (Jean-Michel Basquiat), 18 Strike: To Roberta and Rudy Saussure, Ferdinand de, 7, 32 (Serra), 40 236 Index

Tan Dun, 65 Toyo Ito, 19–20 background, 51–2, 60–1, 64 Trachtenberg, Stanley, 9 cultural dialogue, 173–4 translation, 43, 59 improvisation, 54, 55 The Truman Show (film, Weir), 129, performance by, 53 140–8, 196, 198 see also The Map (Tan) truth, 195 technology absence/incompleteness of, 145, collapsing boundaries and, 23, 24, 153, 159–61 25, 199–200 absolute, 90, 91 cultural exchange and, 50, 53, deconstruction and, 7 60–1, 64 fictional approaches to, 34, impacts on ecosystem, 162 139–40 Internet, 25, 61, 173–4, 198–200 perspective and, 162, 163, 165, video, 49–50, 51, 53, 55, 57, 58, 166–7 199 relativity and, 151, 161, 163, terrorism, 29–30 164–5, 196–7 text (vs. work), 6–7, 8, 197 see also boundary between theater fact and fiction, blurring of; audience interaction, 22, 36, 173 reality cinematic tributes, 195, 215n9 Tseng, Muna, 61, 62 collaborative creation, 61–62, Twelfth Night (Shakespeare), 93–94, 171–173 175 compared with static arts, 37 The Unreal in America (Huxtable), influence on human lives, 175–6 130 Mee’s (re)making project, 170, Untitled (Kapoor), 44 171–174, 176–177, 185 see also Angels in America Varnedoe, Kirk, 40 (Kushner) visual arts, 35–48, 65 Theories of Play and Postmodern audience/viewer interaction, Fiction (Edwards), 10 20–1, 36–7, 41–2, 43–4 “thing theory,” 192 boundaries in, 22, 35–6, 40, 42, Third Space, 33 47–8 A Thousand Acres (Smiley), 170 collaborative creation, 19–20, Tilted Arc (Serra), 41 42–43 time/temporality, 23, 39 language and, 32 boundaries of, 95–6 see also postmodernism; mirroring and, 176–7 reproduction of images; in music, 60, 65 specific artists remaking and, 178, 183 in visual arts, 44, 65 Wag the Dog (film, Levinson), 24 see also future, the; history; The Wake of Imagination (Kearney), past/present/future 10–12, 14 relationship Wall Drawing 56 (LeWitt), Toward a Postmodern Theory of 42–3 Narrative (Gibson), 10 war, 29–30, 96, 97, 182 Index 237

Warhol, Andy, 18, 26, 45, 131 writing, 186 Waugh, Patricia, 4, 203n53 deconstruction and, 46–7 Weir, Peter, 129, 140–8 effects on society/others, 69, 75, 77 Wide Sargasso Sea (Rhys), inﬂuences on author, 70–1, 77 170 text vs. work, 6–7, 8, 197 Woods, Tiger, 27–8 Woolf’s experience, 180–1, 183 Woolf, Virginia, 170, 177–84, 186, 187 Yi-Ching, 54