ABSTRACT
I t is perhaps characteristic of our age-the age of designer labels, when almost every aspect of culture and identity seems amenable to
'packaging' - that there should be such a fearsome fuss over the label 'postmodern'. As the novelist and critic Gilbert Adair notes in The Postmodemist Always Rings Twice (1992), few 'isms' have provoked as much perplexity and suspicion as postmodernism.
