Reviewed by: Metamodernism. Historicity, Affect, and Depth After Postmodernism ed. by Robin van den Akker, Alison Gibbons, and Timotheus Vermeulen Alex Ciorogar Robin van den Akker, Alison Gibbons, and Timotheus Vermeulen (eds.), Metamodernism. Historicity, Affect, and Depth After Postmodernism. Rowman & Littlefield, London: New-York, 2017. Without diving into a detailed analysis of the contemporary, such as it was famously construed in the works of Adorno, Benjamin or Foucault, I would nevertheless like to offer some quick preliminary remarks on what it means to work within the now. Consequently, I'll start by pointing out that the cultural and intellectual practices of the last 30 years or so—hybridity, Performatism, digitalization, and globalization—, could be systematically mapped out by examining contemporary themes, on the one hand, and their forms, on the other. Which, in so many words, is exactly what Metamodernism: Historicity, Affect, Depth After Postmodernism (2017) brilliantly succeeds in delivering: this new collection features some of today's most influential figures writing about twenty-first-century aesthetics, politics, and recent socio-economic developments. It is beyond any shadow of a doubt: there's no other book out there which tackles the question of what may lie beyond postmodernism in a more thoroughly convincing fashion. And there's no shortage of them: one could name Jeffrey Nealon's Post-Postmodernism (2012), Alan Kirby's Digimodernism (2009), Gilles Lipovetsky's Hypermodern Times (2004), Raoul Eshelman's Performatism (2008), Billy Childish's and Charles Thomson's Remodernism (2000), Christian Moraru's Cosmodernism (2011) or Nicolas Bourriaud's Altermodernism (2005). As its title clearly indicates, the volume takes off from Jameson's arguments regarding the postmodern waning of historicity, affect, and depth in Western capitalist societies, in order to show that twenty-first-century discourses could, indeed, be considered as belonging to a new and emerging cultural logic. The "sticky mess that new cultural practices are in the very process of emerging from" (Brian McHale, book cover) slowly unravels itself as you further progress through the weeds of the authors' arguments. What you get is not only a crisp theoretical examination of the critical debates going on right now in the humanities but an exquisitely panned out discussion of recent analytical and scholarly contexts. The ongoing reconfigurations of capitalist societies and neoliberal economies are indicative of new post-postmodern symptoms, such as the return of historicity, affect, [End Page 388] and depth, all of which are also represented or expressed in current cultural developments. The editors argue, in a nutshell, that postmodernism is no longer able to describe some of the most salient characteristics of prominent contemporary cultural productions. While postmodernism marked the superseding of modernist ideals, methods, and sensibilities, metamodernism is instead defined as an attempt to both incorporate and move beyond postmodern stylistic devices. At the same time, metamodernism comprises a return to realist, modernist and pre-modernist forms, techniques, and aspirations. In the editors' words, "this book is an attempt to create a new language or a series of linked dialects" (3) which could help us come to terms with our current historical moment or the "dominant ways of feeling, doing and thinking" (3). One way of looking at cultural patterns today, the editors contend, is by discerning their ground tones or, in the words of the famous Raymond Williams, their specific "structure of feeling." The editors also suggest that metamodernism isn't a manifesto or a social movement, although it encompasses a number of developments which may be understood as "social movements (Occupy), stylistic registers (the New Sincerity) and philosophies (Speculative Materialism, Object-Oriented Ontology)" (5). In the old-fashioned dialectical tradition, metamodernism would represent a reaction to postmodernism. However, as the editors suggest, meta-modernism is brimming with "productive contradictions, simmering tensions, and ideological formations" (5). Thus, metamodernism is, they conclude, both a heuristic label and a chronological term characterized by Nietzschean oscillation rather than Hegelian synthesis. In order to show the ways in which the metamodern structure of feeling is characterized by a sense of earnestness and hope (as opposed to the postmodern cynical attitude towards reality) the collection features several hands-on instances of investigative essays. The postmodern free-floating signifiers are now replaced by the gestures...
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