This paper examines Jessica Hagedorn`s postmodern novel Dogeaters as a possible mode of critical engagement with the unavoidable reality of postmodernity. The text`s postmodern literary techniques reflect the cultural conditions of its own production, while the narrative addresses the questions of (neo)colonial history and subjectivity in our contemporary world of accelerated border-crossings. Hagedorn employs the strategy of disidentification as a means to reconceptualize the modern subject as the transnational intersubject, co-formed through the dialectics across global capitalist space and neocolonial time. The text, woven with characteristically postmodern literary devices, opens up the very contradictory space of postmodernism itself. As a self-reflexive mimicry of the postmodern conditions of production, it brings to the fore the conflict between the mimicked images of the First World and realities of the Third World.