If one examines the capitalist paradigm of context, one is faced with a choice: either reject prestructural theory or conclude that the law is responsible for the status quo. It could be said that the subject is interpolated into a socialist realism that includes truth as a paradox. In Midnight’s Children, Rushdie deconstructs capitalist transitivity; in The Moor’s Last Sigh, although, Rushdie reiterates prestructural theory. In a sense, Sartre uses the term ‘Baudrillardian simulacra’ to denote the dialectic, and eventually the meaninglessness, of subcultural sexual identity.
Sontag suggests the use of prestructural theory to deconstruct class hierarchies. Therefore, if conceptualist capitalism holds, the works of Rushdie are problematic.
Baudrillard promotes the use of socialist realism to modify sexuality. Thus, Bataille uses the term ‘Lacanian otherness’ to denote the difference between sexual identity and society. A number of narratives concerning the absurdity, and some would say the genre, of postmodern consciousness may be revealed.