Indeed these post-tourists delight in the multiplicity of storylines they are told, and regard the whole tourism show in nation after nation, place after place, as a or the tourist game. Such post-tourists tend to now know there is no single culture or essential traditionality to witness in any country, and no authentic tourism experience to witness anywhere. According to Feifer, this rising tide of post-tourists is composed of individuals who are indeed aware that they are acting in the dramatic presentation of particular and differentiated texts as the industry has itself helped possibly internationalise and possibly coterminously denationalise each place. Such nouveaux tourists are indeed demanding freedom from `high culture' and liberty from the formalism of singular, authorised, accounts of culture, heritage, and nature. To the post-tourist, tourism is a 'play', and viewable difference is indeed the sought drawcard or the desired encounter as he/she indulges in the emergent `three-minute' culture of our time (Urry, 1990, p. 100-102[on Feifer]). Where post-tourists celebrate the temporal pulsation of places, they would no doubt be applauded by Bhabha, who would (one may presume) welcome the way post-tourists would respond to the new evanescent metaphoricity of peoples in re-imagined communities. But do most post-tourists ever want to develop genuine dialogue with the exhilarating but slender new storylines that they are increasingly being exposed, or are seemingly craving to see? Bhabha might relish the way that so-called post-tourism might cultivate forms of creative or emancipatory heterogeneity in the representation of places, but he would probably be most disappointed at the lack of sincere engagement which post-tourists are (by definition) seem to have with the sites they visit, and with the host populations they move amongst. Perhaps, to Bhabha, post-tourists just are not themselves sufficiently collaborative in the fight for interruptive or intelligent interpretations of historv and nature? Perhaps, to Bhabha, they themselves are too frequently only passive recipients of contramodern post-coloniality? But their very scale of travel does provide all manner of new and examinable performative spaces in the vast business of tourism.
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