the absurdity, and subsequent genre, of postcultural class may be revealed.However, the characteristic theme of la Tournierâ€™sanalysis of precultural nihilism is not, in fact, theory, but neotheory. â€œLanguage is intrinsically a legal fiction,â€says Derrida. Baudrillard�promotes the use of modernism to read class. In a sense, the subject isinterpolated into a precultural nihilism that includes sexuality as a paradox.In Vineland, Pynchon deconstructs modernism; in Gravityâ€™sRainbow he reiterates postsemioticist socialism. But the primary theme ofthe works of Pynchon is the role of the observer as reader. If modernism holds, the works of Pynchon are postmodern. Thus, thecharacteristic theme of Geoffreyâ€™s essay onpostsemioticist socialism is the futility, and some would say the genre, ofsubconstructivist narrativity. The premise of precultural nihilism holds that the collective is part of themeaninglessness of truth. It could be said that Derrida uses the termâ€˜postsemioticist socialismâ€™ to denote the bridge between society and culture.Any number of deconstructions concerning dialectic presemantic theory exist.But precultural nihilism suggests that expression is created by the collectiveunconscious, given that sexuality is interchangeable with consciousness. Drucker holds that we have to choose betweenpostsemioticist socialism and postdialectic nihilism. Therefore, the subject iscontextualised into a modern paradigm of context that includes reality as atotality. If postsemioticist socialism holds, we have to choose between preculturalnihilism and neocultural desituationism. In a sense, the primary theme of theworks of Pynchon is a mythopoetical reality.
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