By Nicola Pitchford
Tactical Readings analyzes the paintings of Kathy Acker and Angela Carter and argues for placing feminist practices of analyzing on the middle of a revitalized suggestion 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 fashion for feminism to maneuver past its inner divisions over sexuality and obscenity.
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Additional info for Tactical Readings: Feminist Postmodernism in the Novels of Kathy Acker and Angela Carter
Sample text
55 And reading is a location of difference—both of its strategic creation and reinforcement, and of its tactical redeployment. ) It can be argued that in the postmodern context, readers are themselves produced by the texts they’ve read, their identities shaped by the intersection of an assortment of received, subject-forming discourses. But those discourses nevertheless appear in different combinations marked by differences of power; otherness is not everywhere the same. Capitalism continues to produce subjects marked by discourses of race, gender, class, and the like—not only because the texts that comprise postmodernity are all inherited and recycled from previous moments, but because capitalism (even postmodern capitalism) depends on power differentiations in order to function.
55 And reading is a location of difference—both of its strategic creation and reinforcement, and of its tactical redeployment. ) It can be argued that in the postmodern context, readers are themselves produced by the texts they’ve read, their identities shaped by the intersection of an assortment of received, subject-forming discourses. But those discourses nevertheless appear in different combinations marked by differences of power; otherness is not everywhere the same. Capitalism continues to produce subjects marked by discourses of race, gender, class, and the like—not only because the texts that comprise postmodernity are all inherited and recycled from previous moments, but because capitalism (even postmodern capitalism) depends on power differentiations in order to function.
But, in some circles at least, these particular pictures were not worth their usual thousand words. 68 Superimposing my own feminist reading, with its specific agenda, on Harvey’s reading of the plates, I would argue that this note suggests a frustration (almost a nostalgia) similar to Jameson’s, in response to the loss of a single thread of meaning that is the correct reading. ” The problem is not that the pictures did not speak volumes, but that they “were not worth their usual thousand words” because of the interference of some clearly unusual readers.
