![]() ![]() ![]() Postmodernism’s “apocalyptic” associations are well documented, of course, and are generally associated with the descent into relativism, uncertainty, and, as Christopher Norris puts it, the loss of “those grandiose Enlightenment ideas of putting the world to rights” (278) they are connected, as Robert L McLaughlin points out, with “a culture of irony and ridicule” where “no assertion goes unmocked,” and hence where “nothing positive can be built” (70). He identifies a “distinctively British postmodernism,” arguing that the early work of writers like John Ash, Ian McMillan, and Peter Didsbury suggests a “distrust of the more apocalyptic claims made on behalf of postmodernist theory and practice” (85). 1 In his 1996 book, New Relations, David Kennedy discusses some of the British postmodern poets who had begun to publish in the 1980s and early 1990s, and who are represented in the hugely influential anthology, The New Poetry (1993). ![]()
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