THE CREATIVE EXPRESSION OF POSTMODERN SENSIBILITY

However, we distinguish between practical "application" or practice of postmodern theory and the "expression" of postmodern theory; we reserve the arts for the function of delivering that expression.

In the study of the postmodern literature and the arts, the notion of "theory" predominates. We try to differentiate between literary and artistic theory ("critical theory") on the one hand and literary practice ("expression") on the other hand. Theoretical concepts operating in postmodern social and political criticism differ mainly in emphasis from those operating in the criticism and analysis of literature and the arts. (There is an appearance in this of a greater theoretical unity to postmodernism than we usually are willing to acknowledge.)

With the power of hypertext to link and jump, we assume that we can bridge smoothly what may appear to be (and may in fact be) too nice a distinction for the practical discussion of literature and the arts. Never deny us the privilege, whenever such categorical complexities fall of their own weight, to make a major revision in THE PROGRAMME.

With the postmodern inclination to include all texts in the realm of the creative, how can we know what artifacts--what texts--qualify for inclusion under the rubric of creative expression? Well, our decisions may smack of the arbitrary. They may also come from a rough and ready sense of the approximate. If it looks like an old-time duck, maybe it's a newfangled duck, and we will include it.

Forms of expression have not died; they have been contextualized. We can recognize them for what they are (or may be), and that helps us. At the same time, they do not mesmerize us or dragoon us into categorical behaviors that would make us look silly in this porous day and age.

McHale has argued that postmodern fiction is mimetic, a formal performance that imitates our postmodern experience; we take some old-time comfort from that familiar posture (although we are not sure how he gets away with it).

The section of THE PROGRAMME on creative expression, then, is made up of the following groupings:

• Representative fiction and poetry in print. This bibliographic listing is separate from the "growing bibliography" of THE PROGRAMME but is cross-linked so as not to get lost. As (if) our reading progresses, we will annotate these works.

• Comment on fiction and poetry. Here again we have to make choices. If a critical work leans toward a theoretical discussion of postmodern forms and grounds of discourse, we will exclude it from this list. If it offers an interpretation of a particular work or writer, aiming to help us read a creative work or works with greater appreciation and understanding, we will include it. We'll see how well we can walk this chalk line.

• Hypertext creative expression on the Internet/World Wide Web. We have a genuine concern about the quality of the stuff in hyperspace, so far, anyway. Why do the Wright Brothers at Kitty Hawk keep coming to mind? If we don't take note, a mature and unusual literature may fly in our face without our realizing where it came from. We counsel patience and openness.

• Hypertext creative expression not on the Internet. This is commercially sold fiction on disk.

• The writings of our own guy, Bodgers. What more can we say? He carries a "heterotopian" banner for us. Be tolerant of him, we pray, as you would of other others. Look, we were cautious about including him, and he's only here conditionally, anyway--until further notice.