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The Modernist’s command was Pound’s “Make it New.” The postmodern imperative is “Get it Used.” The more used the better.
--
“The Shipwreck of Dada and Surrealism,” The Disappearance of the Outside: A Manifesto for Escape (1990)

 

Andrei Codrescu

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When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation.... Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame.

 

Laura Riding

 

That man was beautiful. Timing, speed, reflexes, rhythm, his body, everything was beautiful. And to me, still, I would say pound for pound...I'd say I'm the greatest heavyweight of all time, but pound for pound, I still say Sugar Ray Robinson was the greatest of all time.

 

Sugar Ray Robinson

 

[Pessoa] is the modernist's modernist: an inspired amalgam of Lewis Carroll, Aristophanes, Erasmus, Voltaire (& Co., if you will), whose exquisite mixed praises of human and literary folly create a polyphony unlike any other prose music you've ever heard.

 

Fernando Pessoa

 

My education was dominated by modernist thinkers and artists who taught me that the supreme imperative was courage to face the awful truth, to scorn the soft-minded optimism of religious and secular romantics as well as the corrupt optimism of governments, advertisers, and mechanistic or manipulative revolutionaries. I learned that lesson well (though it came too late to wholly supplant certain critical opposing influences, like comic books and rock-and-roll). Yet the modernists’ once-subversive refusal to be gulled or lulled has long since degenerated into a ritual despair at least as corrupt, soft-minded, and cowardly — not to say smug — as the false cheer it replaced. The terms of the dialectic have reversed: now the subversive task is to affirm an authentic post-modernist optimism that gives full weight to existent horror and possible (or probable) apocalyptic disaster, yet insists — credibly — that we can, well, overcome. The catch is that you have to be an optimist (an American?) in the first place not to dismiss such a project as insane.

 

Ellen Willis

 

But I'm not here to talk about postmodernism. I tried to do that last spring, and afterwards I was thoroughly deconstructed by the deconstructionists for attempting to deconstruct deconstructionism. At least, that's the construction I put on their construction of it. I was talking about postmodern culture, and they thought I was talking about postmodern literature. Not at all the same thing!

 

Larry Wall