Benjamin D. Muir is a writer and Doctoral candidate from Western Sydney. He writes and studies postmodern horror and was the recipient of 2019's AAWP/UWAP First Chapter Prize
Junior Contributor I
literatureWrite this topic
Is Postmodern Literature Dead, or Simply Out of Fashion?
Many considered the encyclopaedic novels of the late ’90s and early 2000’s such as Mark Z. Danielewski’s House of Leaves and most prominently, David Foster Wallace’s Infinite Jest to be, variously, postmodernist, or post-postmodernist – ‘New Sincerity," being a label applied to the latter. In the case of DFW, the abandonment of irony in place of sincerity was defined as the source of the departure from the genre or movement, while Danielewski’s act of essentially drawing out postmodern literature and all its tropes and threads to their logical conclusions was, essentially, concluding it there and then.
My Immortal was one thing but has anyone here ever happened across that Harry Potter/NSYNC fanfic where the Weasley twins hook up with Lance Bass? Perhaps not the most shining example of queering of existing media but by god it was a funny read, even if that had not been the author’s intention.
I enjoyed both films but I can see why the deaf community was disappointed at the lack of casting of deaf actors; that’s a terrible shame and I’d like to see horror films that hinge upon disability as a theme become more inclusive in the spirit of “nothing abotu us without us,” as it were.
While I fundamentally agree, from what I’ve seen, the best adaptions tend to come from cinematic works where the author of the source material is heavily involved. For instance, The Perks of Being a Wallflower was handled almost entirely by the author who is also a screenwriter by trade, and it was nothing short of perfect. Even where the plot diverged from the source, it ended up being more a “director’s cut,” kind of experience than the frustration of wondering why on earth they felt the need to change something perfectly good.