Enormous Changes at the Last Minute: Postmodern Humanism :: Grace Paley Enormous Last Minute Essays

"Enormous Changes at the Last Minute:" Postmodern Humanism in the Short Fiction of Grace Paley(1) On the jacket of her second book of short stories, Enormous Changes at the Last Minute, Grace Paley, a feminist, postmodernist, antiwar activist, and writer, identifies herself as a "somewhat combative pacifist and cooperative anarchist." In 1979, she was arrested on the White House lawn for demonstrating against nuclear weapons, and her rÃÆ'Â ©sumÃÆ'Â © is full of such protest-related arrests. Paley's statement in a 1998 interview with the online magazine Salon is typical: "Whatever your calling is, whether it's as a plumber or an artist, you have to make sure there's a little more justice in the world when you leave it than when you found it." Paley's fiction expresses similar sentiments but in rather subtle ways. Women in her short stories do not get arrested for protesting; instead, they visit their aging fathers in the hospital. (2) Paley's concern for justice appears in her short fiction as a postmodern humanism that works itself out in the establishment of storytelling, re ality-making communities. In "Toward a Concept of Postmodernism," Ihab Hassan schematizes postmodernism in opposition to modernism. This sampling of the catchwords he identifies gives us a window into the project of postmodern theorists: Antiform, Play, Anarchy, Decreation/Deconstruction, Antithesis, Absence, Dispersal, Anti-narrative/Petite Histoire, Indeterminacy (591-2). Postmodern writers, then, play with language, experiment with narrative fragmentation, introduce previously ignored voices, borrow heavily from both popular culture and "canonical" literature, and generally break boundaries. How can we classify Paley as a postmodern writer if an ethical framework underlies her writing? Shouldn't she be trying to deconstruct reality and expose the meaninglessness of the American experience? Of course, no work or writer fits perfectly into postmodernism's theoretical agenda. For that matter, the very establishment of an unyielding definition of postmodernism is antithetical to its self-proclaimed turn away from the rigidity of modernist thought. For students of postmodernism this can be a maddening maze of deconstruction that eventually leads to the extinction of the study of literature. If, as radical deconstructionists might argue, our language systems and understandings of reality prove to be valueless, the scholar of literature is left with little to do, as is the social critic. It is for this reason that Hassan writes Thus we can not simply rest-as I have sometimes done-on the assumption that postmodernism is antiformal, anarchic, or decreative; for though it is indeed all these, and despite its fanatic will to unmaking, it also contains the need to discover a "unitary sensibility" (Sontag), to "cross the border and close the gap" (Fiedler).