If "the contemporary" is the heading under which scholars study recent literary, artistic, and cultural forms, what exactly is it? Is it a period? A style? A type of contentnetworks, finance, or climate changethat feels diagnostic of the present? For literary scholars, the contemporary is a persistently moving target. Rather than stating when it is, we consider critical methods of reading the contemporary alongside the objects they favor and promote. We thereby disrupt the idea of an accepted canon of contemporary fiction by showing the wide array of texts contemporary critics do in fact study. This survey covers contemporary approaches to fiction that find their starting points in the neoliberal economy, in systems and institutions, in theories of the Anthropocene and world literature, and in critical race studies. We conclude with the proliferating "posts" of contemporary literature and theorypost-human, post-racial, and even post-postmodernand with our intuitions about the temporal and historical function of literary form in contemporary fiction.
In the early 1960s two editions of Chinua Achebe's Things Fall Apart were published with competing sets of illustrations. The first, by Dennis Carabine, illustrates a realist novel, the second, by Uche Okeke, a modernist one. Reading Achebe's iconic novel through its early publication history and for its visual images shows how the famous ending of Things Fall Apart turns, stylistically, to the impenetrable flatness of the modernist surface. At mid-century, modernist style could be made to serve realist imperatives, and Achebe's flat style challenges colonial modes of literary representation and the myth of modernist primitivism in the visual arts. This essay stresses the importance of the visual image to mid-century anglophone literature and the importance of modernist style to the poetics of decolonization.
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