https://philosophynow.org/issues/58 /The_Death_of_Postmodern

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>>1531495
Nigga did you expect me to read?


Actually though mind blown and awareness of new paradigm achieved.

yeah it's pretty well-established by anyone with an education on the subject that post-modernism was just a late 20th-century movement, but many of the conditions to which it belonged still persist and as such the movement continues to influence the contemporary, as much as new conditions and older movements.

sometimes people come onto 4chan and elucidate what post-modernism means but largely no one listens. it's embarrassing for a history board to have as much insight into post-modernism as /tv/

The Black Book (1990) by Orhan Pamuk
Haroun and the Sea of Stories (1990) by Salman Rushdie
My Cousin, My Gastroenterologist (1990) by Mark Leyner
The Things They Carried (1990) by Tim O'Brien
Almanac of the Dead (1991) by Leslie Marmon Silko
Omon Ra (1991) by Victor Pelevin
Maus (1991) by Art Spiegelman
The Gold Bug Variations (1991) by Richard Powers
American Psycho (1991) by Bret Easton Ellis
What a Carve Up! (1991) by Jonathan Coe
Generation X: Tales for an Accelerated Culture (1991) by Douglas Coupland
Snow Crash (1992) by Neal Stephenson
Vurt (1993) by Jeff Noon
A Frolic of His Own (1994) by William Gaddis
Astronautilía Hvězdoplavba (1995) by Jan Křesadlo
Galatea 2.2 (1995) by Richard Powers
The Tunnel (1995) by William H. Gass
Reservation Blues (1995) by Sherman Alexie
The Wind-Up Bird Chronicle (1995) by Haruki Murakami
Infinite Jest (1996) by David Foster Wallace
Chapayev and Void (1996) by Victor Pelevin
Fight Club (1996) by Chuck Palahniuk
Mason & Dixon (1997) by Thomas Pynchon

Underworld (1997) by Don DeLillo
In the Miso Soup (1997) by Ryu Murakami
Transmetropolitan (1997-2002) by Warren Ellis and Darick Robertson
Yo-Yo Boing! (1998) by Giannina Braschi
Glamorama (1998) by Bret Easton Ellis
Zero Degree (1998) by Charu Nivedita
Koolaids: The Art of War (1998) by Rabih Alameddine
My Name Is Red (1998) by Orhan Pamuk
Tomcat in Love (1998) by Tim O'Brien
Generation "П" (1999) by Victor Pelevin
The Rings of Saturn (1999) by W. G. Sebald
Q (1999) by Luther Blissett
Motherless Brooklyn (1999) by Jonathan Lethem
White Teeth (2000) by Zadie Smith
Morning and Evening (2000) by Jon Fosse
An Invisible Sign of My Own: A Novel (2000) by Aimee Bender
The Blind Assassin (2001) by Margaret Atwood
Austerlitz (2001) by W. G. Sebald
Everything Is Illuminated (2002) by Jonathan Safran Foer
You Shall Know Our Velocity (2002) by Dave Eggers
Kafka on the Shore (2002) by Haruki Murakami
2666 (2004) by Roberto Bolaño
After Dark (2004) by Haruki Murakami
On Beauty (2005) by Zadie Smith
Lunar Park (2005) by Bret Easton Ellis
Against the Day (2005) by Thomas Pynchon
Never Let Me Go (2005) by Kazuo Ishiguro
Lullabies for Little Criminals (2006) by Heather O'Neill
What Is the What (2006) by Dave Eggers
The Last Novel (2007) by David Markson
The City & the City (2009) by China Miéville
Generation A (2009) by Douglas Coupland
Inherent Vice (2009) by Thomas Pynchon
Z213: Exit (2009) by Dimitris Lyacos
1Q84 (2009–2010) by Haruki Murakami
Witz (2010) by Joshua Cohen
The Pale King (2011) by David Foster Wallace
United States of Banana (2011) by Giannina Braschi
Home (2012) by Toni Morrison
Middle C (2013) by William H. Gass
Bleeding Edge (2013) by Thomas Pynchon
Taipei (2013) by Tao Lin
A Brief History of Seven Killings (2014) by Marlon James
With the People from the Bridge (2014) by Dimitris Lyacos

>>1531495
We are in post-postmodernism now, get with the times people.

https://en.wikipedia.org/wiki/Post-postmodernism

>>1531495
While of course I agree with the article, I'm not sure I would call Toni Morrison completely Postmodernist, given that her works include Modernist themes as well. But that's just pettiness.

Actually, I find it interesting that while the new paradigm focuses on the viewer, the nature of war seems not to have caught up entirely. While terrorism fits this paradigm, the secretive way by which the West conducts war seems contrary to this phenomenon. If you use Vietnam and WW2 postmodern wars, they both had a draft and they were both big news. Iraq and Afghanistan were news for a month, and have required no draft. Doesn't that run contrary to the thought of viewer participation? We're more detached than other from war.

the simulations take more precedence over reality itself