By Mitchum Huehls
After critique' identifies an ontological flip in modern U.S. fiction that distinguishes our present literary second from either postmodernism and so-called post-postmodernism. This flip to ontology takes many kinds, yet usually After Critique highlights a physique of literature-work from Colson Whitehead, Uzodinma Iweala, Karen Yamasthia, Helena Viramontes, Percival Everett, Mat Johnson, Kim Stanley Robinson, Read more...
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McGurl carefully acknowledges that traces of the exomodern are woven throughout modernism and postmodernism, and he also observes that exomodernism is more of a nebulous sensitivity to human insignificance than it is a discrete aesthetic mode or historical period. Nevertheless, he also grants it the power “to crack open the carapace of human self-concern, exposing it to the idea, and maybe even the fact, of its external ontological preconditions, its ground” (380). For McGurl, this occurs primarily through the human’s confrontation with a “new cultural geology” that positions the human relative to billions of years of geologic time and space.
A better question is, Which approach will be most helpful given the impasse in critical representation that the neoliberal circle exploits and exacerbates? And I think recent contemporary fiction, with its turn away from critique, has been asking the same question and similarly concluding that we can no longer afford to approach neoliberalism as a representational problem, as an ideological vision of the world requiring our critical engagement. Instead, After Critique sees its contemporary literary archive introducing a productive wrinkle into neoliberal totality by considering, not the Marxist alternative to capitalism, but ontology’s alternative to standard representational forms.
First, there has been 24 After Critique a renewed interest in exploring the influence of objects on the world, particularly in the cultural sphere. Content to examine objects internal to literary representation, however, this object-oriented approach to literature—frequently operating under the rubric of “material cultures”—tends to neglect the ontology of literature itself. A second approach, proffered by Harman, radically jettisons the representational properties of literature altogether, preferring instead to approach texts as a philosopher might consider any other object in the world: by discerning and differentiating its primary and secondary properties.