In terms of the postmodern fragmentation of identity, the authors point to a removal of a stable space/place and time as well as the instability of the body. “Within this context of dislocation, postmodern visual rhetoric can be particularly useful as individuals seek to create coherent and comfortable identities” (252). This is accomplished in two possible ways: intertextuality and harkening to the old (supposedly less complicated) time. “Although the two strategies are different, both serve as ways of thinking about locality in both time and space. Both modes draw on traditional forms—the first through pastiche and hybridization, the second through reverential quoting—as a means of creating a sense of ‘place-in-time.’ In so doing, both modes work to create a sense of geo- graphical place by trying to assert a particular or unique sense of belonging in a particular location” (263).
The authors use Wild Oaks Market as an example, should that it “responds to the abstractions and discomforts of globalized postmodern consumer culture with a rhetoric of connection that draws on images of locality and nature, and asserts a particular form of community” (259-60). Wild Oaks Market engages visitors through a concept of locality, nature and community, though each of these acknowledges globalization. The point is that shoppers can locate where food is from and where they are. In addition, the Market engages the whole body of the shopper. “As our subjectivities and our bodies are fragmented and dispersed, we desire more than just a vision or a sight of comfort, we desire a site in which our whole bodies might find comfort. Visual rhetoric in space becomes most compelling not simply when the vision is compelling, but when the rhetoric appeals to the intersections among the five senses. The sight of the peach is made more powerful by the smell and touch and taste” (272).