This chapter discusses how writers in the twenty-first century have responded to the legacies of postmodernism. It details various attempts at configuring a post-postmodernism before offering close analysis of a series of British writers who have entered a critical dialogue with postmodernism through their fiction. The novelists are discussed with respect to three main areas. First, the identification of an ethical turn in selected fiction produced by writers associated with postmodernism whose careers were established in the last quarter of the twentieth century (Amis, Barnes, Byatt, McEwan, Winterson). Second, British writers who emerge after 9/11 who, although they adopt several techniques associated with postmodernism, incorporate a new, tentative idealism and elements of realism in terms of both literary form and philosophical belief (Mitchell, Barker, Ali Smith). Third, it looks at how discourses around postcolonialism and multiculturalism impact with postmodernism in selected fiction (Ali, Levy, Rushdie, Zadie Smith).

One of postmodernism’s legacies is ironically that, once it is assumed to be over its characteristic self-consciousness about its own historicity has come to permeate ‘post-postmodern’ culture. This chapter considers why critics and theorists were so keen, especially in the first decade of the Twenty-First Century, to declare postmodernism over and to identify what has replaced it. What does this preoccupation with periodicity mean for a society which – due to advances in digital technology – now shares, more widely, a similar uncertainty about its own position in history? The work of some notable twenty-first-century British writers – aware of writing in postmodernism’s slipstream – can usefully be seen as responding to this question. The chapter examines three in particular: Ali Smith’s The Accidental, David Mitchell’s Cloud Atlas, and Kazuo Ishiguro’s Never Let Me Go. Each of these novels conveys a historical ‘out-of-time-ness’, which implies that, ghost-like, the postmodern has both ended and continued.

Whilst discussions of British and American fiction often depend upon binary oppositions (tradition vs. experimentation, etc.), this chapter argues that the longer arc of British postmodern fiction is better understood in less polarising terms that instead reflect the overlaps, migrations, exchanges, and economic realignments that emerging technologies introduced in the late twentieth century. This argument hinges upon reading Martin Amis’s Money as a particularly prescient example of a transatlantic network novel. Amis’s seminal text reconceives the oceanic divide not simply in terms of American financial power, but specifically in terms of developing computer technologies: the chapter argues that Money’s network-inflected conception of space, as well as its signature stylistic and formal innovations, interweave British and American cultural spaces in an exemplary fashion, the legacy of which can be traced through the millennium into major novels that enact British postmodernism’s afterlife by Hari Kunzru, Tom McCarthy, David Mitchell, and Zadie Smith.

This chapter is about the flourishing of a variety of distinctively postmodern ‘alternative realisms’ in the early Twenty-First Century, which are predicated on the ontological questions Brian McHale famously identified as a recurrent element of postmodernism. It shows how a range of novels – especially examples by David Mitchell, Ali Smith, Maggie Gee and Kazuo Ishiguro – are charged with a postmodern sense that literature evokes a ‘plurality of worlds’, as dream-logic and mundane reality collide in comic and destabilizing ways, and the boundary between the mundane and the magical is rendered porous. These novels, the chapter contends, might productively be considered apocalyptic, a form of narrative in which veiled, hidden or buried stories are revealed. As a result, twenty-first-century alternative realism redoubles the impetus of late twentieth-century postmodernism to convey a distrust of authoritarianism by preserving a sense of the sublime.

This chapter is prompted by recent calls by historians and other scholars for new understandings of history in the Anthropocene; it asks what this might mean for literary realism, invested as it is in the depiction of the passing of time. History in the Anthropocene renders redundant the human-historical, individual-universal dialectic that has long been the hallmark of the realist novel. Following Ian Baucom, this chapter looks to Walter Benjamin’s conceptualisation of history for clues to a new form of literary realism. For Benjamin, a true understanding of history demands the recognition of the ‘image’ of history, a recognition occurring in a moment of ‘arrest’ or stoppage in the flow of time and of thought. This chapter speculates on the emergence in the Anthropocene of a literary realism that performs just such an arrest, taking its reader beyond conventional understandings of (human) history and time.

This chapter outlines the emergence of climate fiction and its key modes. It pays particular attention to the extent to which climate fiction has worked within the established conventions of literary realism, meeting the many representational challenges mounted by climate change. While it considers the extent to which realism is able to render the abstract and intangible phenomenon of climate change visible, it argues that there is also a significant body of writing on the subject which turns to alternative forms and narrative strategies in the effort to represent climate change, and manages to overcome some of the limitations of realism. In other words, where climate fiction meets the challenges of representing climate change, it has the potential to provide a space in which to address the Anthropocene’s emotional, ethical, and practical concerns.