Postmodernist discourses are often exclusionary even when, having been accused of lacking concrete relevance, they call attention to and appropriate the experience of "difference" and "otherness" in order to provide themselves with oppositional political meaning, legitimacy, and immediacy. Very few African-American intellectuals have talked or written about postmodernism. Recently at a dinner party, I talked about trying to grapple with the significance of postmodernism for contemporary black experience. It was one of those social gatherings where only one other black person was present. The setting quickly became a field of contestation. I was told by the other black person that I was wasting my time, that "this stuff does not relate in any way to what's happening with black people." Speaking in the presence of a group of white onlookers, staring at us as though this encounter was staged for their benefit, we engaged in a passionate discussion about black experience. Apparently, no one sympathized with my insistence that racism is perpetuated when blackness is associated solely with concrete gut level experience conceived either as opposing or having no connection to abstract thinking and the production of critical theory. The idea that there is no meaningful connection between black experience and critical thinking about aesthetics or culture must be continually interrogated....- bell hooks, 1994
...Critical of most writing on postmodernism, I perhaps am more conscious of the way in which the focus on "otherness and difference" that is often alluded to in these works seems to have little concrete impact as an analysis or standpoint that might change the nature and direction of postmodernist theory. Since much of this theory has been constructed in reaction to and against high modernism, there is seldom any mention of black experience or writings by black people in this work, specifically black women (though in more recent work one may see reference to Cornel West, the black male scholar who has most engaged postmodernist discourse). Even if an aspect of black culture is the subject of postmodern critical writing the works cited will usually be those of black men. A work that comes immediately to mind is Andrew Ross' chapter "Hip, and the Long Front of Color" in _No Respect: Intellectuals and Popular Culture_; though an interesting reading, it constructs black culture as though black women have had no role in black cultural production. At the end of Meaghan Morris' discussion of postmodernism included in her collection of essays _The Pirate's Fiance: Feminism and Postmodernism_, she provides a bibliography of works by women, identifying them as important contributions to a discourse on postmodernism that offers new insight as well as challenging male theoretical hegemony. Even though many of the works do not directly address postmodernism, they address similar concerns. There are no references to work by black women.
The failure to recognize a critical black presence in the culture and in most scholarship and writing on postmodernism compels a black reader, particularly a black female reader, to interrogate her interest in a subject where those who discuss and write about it seem not to know black women exist or to even consider the possibility that we might be somewhere writing or saying something that should be listened to, or producing art that should be seen, heard, approached with intellectual seriousness. This is especially the case with works that go on and on about the way in which postmodernist discourse has opened up a theoretical terrain where "difference and otherness" can be considered legitimate issues in the academy. Confronting both the lack of recognition of black female presence that much postmodernist theory reinscribes and the resistance on the part of most black folks to hearing about real connections between postmodernism and black experience, I enter a discourse, a practice, where there may be no ready audience for my words, no clear listener, uncertain, then, that my voice can or will be heard....
...Postmodern theory that is not seeking to simply appropriate the experience of "otherness" in order to enhance its discourse or to be radically chic should not separate the "politics of difference" from the politics of racism. To take racism seriously one must consider the plight of underclass people of color, a vast majority of whom are black. For African-Americans our collective condition prior to the advent of postmodernism and perhaps more tragically expressed under current postmodern conditions has been and is characterized by continued displacement, profound alienation and despair. Writing about blacks and postmodernism, Cornel West describes our collective plight: There is increasing class division and differentiation, creating on the one hand a significant black middle-class, highly anxiety- ridden, insecure, willing to be co-opted and incorporated into the powers that be, concerned with racism to the degree that it poses constraints on upward social mobility; and, on the other, a vast and growing black underclass, an underclass that embodies a kind of walking nihilism of pervasive drug addiction, pervasive alcoholism, pervasive homicide, and an exponential rise in suicide. Now because of the deindustrialization, we also have a devastated black industrial working class. We are talking here about tremendous hopelessness. This hopelessness creates longing for insight and strategies for change that can renew spirits and reconstruct grounds for collective black liberation struggle. The overall impact of the postmodern condition is that many other groups now share with black folks a sense of deep alienation, despair, uncertainty, loss of a sense of grounding, even if it is not informed by shared circumstance. Radical postmodernism calls attention to those sensibilities which are shared across the boundaries of class, gender, and race, and which could be fertile ground for the construction of empathy--ties that would promote recognition of common commitments and serve as a base for solidarity and coalition.
"Yearning" is the word that best describes a common psychological state shared by many of us, cutting across boundaries of race, class, gender, and sexual practice. Specifically in relation to the postmodernist deconstruction of "master" narratives, the yearning that wells in the hearts and minds of those whom such narratives have silenced is the longing for critical voice.