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Place, Language, and Identity in Afro-Costa Rican Literature, and: The Fugitive Race: Minority Writers Resisting Whiteness (review)

postmodernism offered by Fredric Jameson and Jean Baudrillard. In other words, Nel’s postmodernism is capable of maintaining the oppositional power of modernism itself, while his focus on specifically avant-garde practices, even when appropriated by apparently mainstream artists, ‘‘allows us to see the contingent arguments within American literature and culture by recognizing spaces for critique that Baudrillard’s and Jameson’s theories of postmodernity disallow’’ (xvii). By stressing the stylistic continuities between modernism and postmodernism, Nel, like Cutler and Wegner, not only undermines any reified notions of periodicity but reminds us that modernism, in its specifically avant-garde formulations, is still very much with us. That the homogeneity of our postmodern simulacrum is challenged by The Cat in the Hat and Two Bad Ants as well as Snow White or Underworld is good news indeed.