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Postmodern literature arose after World War II as a series of reactions against the perceived norms of modernist literature.
Background: modernism and comparisons with postmodernism
Both modern and postmodern literature represent a break from 19th century realism, in which a story was told from an objective or omniscient point of view. In character development, both modern and postmodern literature explore subjectivism, turning from external reality to examine inner states of consciousness, in many cases drawing on modernist examples in the stream of consciousness styles of Virginia Woolf and James Joyce. In addition, both modern and postmodern literature explore fragmentariness in narrative- and character-construction, reflective of the works of Swedish dramatist August Strindberg and the Italian author Luigi Pirandello.
Unlike postmodern literature, however, modernist literature saw fragmentation and extreme subjectivity as an existential crisis or a Freudian internal conflict. In postmodern literature this crisis is avoided. The tortured, isolated anti-heroes of, say, Knut Hamsun or Samuel Beckett, and the nightmare world of T. S. Eliot's The Waste Land, make way in postmodern writing for the self-consciously deconstructed and self-reflexive narrators of novels by Vladimir Nabokov, Vladimir Sorokin, John Fowles, John Barth, or Julian Barnes.
Shift to postmodernism
As with all stylistic eras, no definite dates exist for the rise and fall of postmodernism's popularity. 1941, the year Irish novelist James Joyce and British novelist Virginia Woolf both died, is sometimes used as a rough boundary for postmodernism's start.
Another common divide is the end of the second world war, which saw a critical assessment of human rights in the wake of the Atomic bombings of Hiroshima and Nagasaki, The Holocaust, and Japanese American internment. It also coincides with the beginning of the Cold War, the American Civil Rights Movement (1955-1968) and the beginning of movements which worked towards: (a) the end of Colonialism, (b) the Partition of India, (c) the 1947 UN Partition Plan, and (d) the development of Postcolonial literature Finally, it reflects the influence of the computer which garnered new importance during the war. During this time, computers became integrated within postmodern fiction often referred to as Cyberpunk Norton Anthology [http://www.wwnorton.com/college/titles/english/pmaf/resources.htm" target="_blank" >*, in section VI, "Technoculture" discusses cyberpunk as a form of postmodern literature:
- "Neal Stephenson's Snow Crash (1992) is an exemplar of 'cyberpunk' science fiction...while cyberpunk represents a fast-forward vision of the present, contemporary science fiction is also the site for a peculiarly postmodern technological retrospection. William Gibson's...1984 cyberpunk novel Neuromancer is widely regarded as one of the most influential futuristic visions in American literary history" (page 510).
Other sub-genres which developed in conjunction with this area include Electronic literature and Hypertext fiction.
Criticism
Literature of this era does not set itself against modern literature as much as it develops and extends the style, making it self-conscious and ironic. In such literature, one finds a shift in the role of the "inner narrative of the self," from the self at war with itself to the self as arbiter, pointing to the phenomenological roots of postmodern thought. Authors such as David Foster Wallace, Don DeLillo, and Thomas Pynchon in Gravity's Rainbow satirise the paranoid system-building of the kind associated, by postmodernists, with Enlightenment modernity.
Dubbed maximalism by some critics, the sprawling canvas and fragmented narrative of such writers as Dave Eggers has generated controversy on the "purpose" of a novel as narrative and the standards by which it should be judged. The postmodern position is that the style of a novel must be appropriate to that which it depicts and represents, and points back to such examples in previous ages as Gargantua by François Rabelais and the Odyssey of Homer, which Nancy Felson-Rubin hails as the exemplar of the polytropic audience and its engagement with a work.
Many modernist critics attack the maximalist novel as being disorganized, sterile and filled with language play for its own sake, empty of emotional comittment—and therefore empty of value as a novel. Yet there are counter-examples, such as Pynchon's Mason & Dixon, or James Chapman's Stet, where postmodern narrative coexists with emotional commitment.
Postmodern authors
- See main article: list of postmodern authors.
Postmodern critics
- See main article: list of postmodern critics.
References
External links
Letteratura postmoderna | ポストモダン文学 | Văn học hậu hiện đại | 后现代主义文学
"Postmodern literature"