In Praise of the New Modernists |
Literary Hub
More recently—say, in the last 20 years or so—numerous so-called postmodern novels have contained this distinctly non-postmodern quality—not that the characters feel so much as the reader. The cumulative effect isn’t necessarily a fully fleshed-out character but a fully emotional experience. Think of Jonathan Safran Foer’s strong sentiments in the face of the Holocaust and 9/11; think of the alligator-wrestling family at the heart of Karen Russell’s Swamplandia!; think of the way Ali Smith works her linguistic magic in order to convey the complexities of love and relationships; or the heart-breaking wallop of David Levithan’s The Lover’s Dictionary; think of Reif Larsen’s I am Radar, of Zadie Smith’s NW, of Téa Obreht’s The Tiger’s Wife. Can these books truly be considered postmodern when the most prevalent aspect is emotion rather than thought?
