This essay suggests that literary production post-postmodernism has not progressed to something new, but rather has returned to quintessentially modernist anxieties and modes of expression––especially renewed faith in grand narratives. The argument draws upon and coalesces two theoretical texts to help identify what I term ‘revenant modernism’ as a “symbolic space” (Flatley, 2008: 32) where a sort of “secular re-enchantment” (Landy & Saler, 2009: 2) remains possible: Jonathan Flatley’s Affective mapping: Melancholia and the politics of modernism (2008) and The re-enchantment of the world: Secular magic in a rational age (2009) by Joshua Landy and Michael Saler. I then examine two recent novels––Will Self’s Umbrella (2012) and Eimear McBride’s A girl is a half-formed thing (2014)––as evidence of this return. Along the way, I tie both of these novels back to their stated modernist influence (James Joyce’s Ulysses [1993]) in order to show how Self and McBride’s fiction borrows from Joyce’s particular brand of postcolonial modernism.

中文翻译：

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复兴现代主义与文学史的再现

本文表明，后现代主义之后的文学生产并没有发展到新的东西，而是回到了典型的现代主义焦虑和表达方式-尤其是对宏大叙事的重新信仰。该论证借鉴并结合了两个理论文本，以帮助确定我所说的“现代流派”是“符号空间”（Flatley，2008：32），其中存在一种“世俗的重新结界”（Landy＆Saler，2009：2）。 ）仍有可能：乔纳森·弗拉特利（Jonathan Flatley）的情感映射：忧郁症与现代主义政治（2008）和《世界的重新着迷：理性时代的世俗魔术》（2009），约书亚·兰迪（Joshua Landy）和迈克尔·萨勒（Michael Saler）。然后，我考察了两本最近的小说-《威尔·塞尔夫的雨伞》（2012年）和艾默尔·麦克布莱德的《一个女孩是半成熟的东西》（2014年）-作为这种回归的证据。一路上，