Intro to Postmodernism: Questioning the Truth Claim

PALS is excited to kick off our 2018-2019 academic year with a guest post by Matthew Luter. Luter is on the English faculty at St. Andrew’s Episcopal School in Jackson, Mississippi and author of Understanding Jonathan Lethem. In this post Luter discusses how he introduces postmodernism to his students through an intriguing classroom activity, which touches on ideas of truth and asks students to contemplate the distinctions we make between fact and fiction. 

Gustav Klim

Literary postmodernism is a tough concept to introduce to my high school students. Many students have never heard the term postmodern at all; a few are aware of it as a kind of buzzword that has become a right-wing boogeyman; and more than a few are a little turned off by how academically highfalutin’ it sounds. In order to introduce it to my students, I developed a set of tasks that lean into rather than steer away from the complications of literary postmodernism. To highlight the inherent contradictions and paradoxes of the postmodern, I begin with discussion of language and narrative, which quickly turns to some broader philosophical questions.

This lesson has become an unlikely favorite of my students, which genuinely surprises me. Yes, the activity is interactive and mostly lighthearted… but it’s also deeply abstract, does not resolve its big questions neatly, and—oh yeah—involves me straight-up lying to my students for a large chunk of class time. I’ll explain.

I generally use this activity with junior or senior American literature courses that have already spent a few weeks with some major texts of the modernist era. As a result, I position the postmodern as both a natural outgrowth from modernism and a sharp contrast against it, with help from a few bite-sized pieces of literary theory. In explaining how modernism and postmodernism differ, I borrow most heavily from Brian McHale’s distinction in Postmodernist Fiction between modernism as a movement interested in epistemological questions and postmodernism’s shift to the ontological (once those two “ologicals” get defined, of course). Another useful theoretical text, Ihab Hassan’s “Toward a Concept of Postmodernism,” includes a chart of opposed binary descriptions of modernism and postmodernism, and a few of its more accessible pairings have proved helpful. My students have already encountered canonical modernist texts like The Great Gatsby and A Streetcar Named Desire that invite investigative interpretation, asking readers to sort through what is and isn’t true about the checkered pasts of their main characters. The day’s focus, then, is the shift from asking what is true to to asking what is real.

Toward that end, I give small groups of students paragraph-length case studies recounting recent literary or cinematic stories in which the lines between the real and the unreal (or in some cases, the labels fiction and nonfiction) wind up considerably blurred. Examples I’ve used include the controversy surrounding James Frey’s A Million Little Pieces; the disqualification of Errol Morris’s The Thin Blue Line from consideration for the Best Documentary Oscar; and Art Spiegelman’s letter to the The New York Times objecting to their initial placement of Maus on the fiction bestseller list. Each case study includes enough information about the text in question to get the group started in discussion, as well as a few conceptual questions, mostly asking students to consider where the ambiguity lies anyway regarding the reality or nonfictionality. For instance, the group assigned James Frey discusses, “How does labeling a book fiction or nonfiction alter how readers consume it?” The group addressing The Thin Blue Line, a documentary which includes re-enactments of events in a crime’s timeline, considers, “In what ways might such a film be best understood as fact, and in what ways is it fiction?” And after learning that Maus is a well-researched Holocaust survivor narrative presented in graphic novel form, a third group discusses, “Why would such a book have ever been classified as fiction at all?”


Crucially, I designate this day of class a tech-free meeting: no laptops out, no Googling additional information about these stories. That’s because one group has a story that’s totally made up: the fake story I currently use describes a political candidate hiring a lookalike to play himself in campaign commercials, while writing all of the text for the ads himself. Students are asked: if the candidate is in charge of the content of the message, and he never claims to be the lookalike (or vice versa), are voters being deceived? Has lying happened?

After some small-group discussion time, each group introduces their story to the full class, presents how they have answered their assigned questions, and invites additional responses from classmates. After hearing from all four groups, I introduce to the full class a fifth and final case study: “Some element or elements of at least one of these stories is made up. What is the fictional information? And if we got good class discussion out of it today, does it matter?”

For a few minutes, the class becomes a fairly upbeat game of Call My Bluff—and most of my students successfully identify the fully fictional story. But the second half of the final case study shakes some students up—which is the point. Some students quickly decide that the day’s activity has all been in good fun, concluding that the exercise would be problematic only if I were to end class without coming clean. But others are a bit more unsettled for a moment, and usually, at least one student in each class asks how they are to know I haven’t misled them on other class days. Some students flatly respond, “Well, we don’t.” Others respond that the debriefing discussion taking place currently—my admission to having misled them briefly—means that in the end, no one has really been misled at all. And so on. The best part is that the ensuing conversation winds up being one among students; we all know the teacherly joy of the class discussion in which students talk to each other instead of sending every comment through the teacher. And so, a brief introduction to a new literary period has turned into a discussion on the more abstract philosophical question of under what circumstances, if ever, it may be appropriate to play with factuality as a means to an end.

As a result, the lesson has proved useful for me in introducing texts such as Tim O’Brien’s The Things They Carried, which calls into question its own truth claims in “How to Tell a True War Story” and “Good Form,” and Don DeLillo’s White Noise, which encourages readers to question which authority figures ought to be believed amid the airborne toxic event. I could imagine it working equally well to introduce texts in the tradition of speculative fiction—especially those, like Philip K. Dick’s The Man in the High Castle or Philip Roth’s The Plot Against America, that posit alternative American histories. Or intentionally multi-voiced texts that work, Rashomon-like, to complicate the credibility of any individual speaker when multiple accounts contradict each other, or fiction that relies on overtly unreliable narrators. The lesson sets up individual postmodern texts, but it also makes visible and experiential postmodernity’s essential distrust of grand narratives, authority figures, and easy binaries like fact-versus-fiction.

I am well aware of the risks this lesson takes. Some students find such radical skepticism disturbing and dislocating, while others feel quite liberated by the sense that it gives them permission to ask tough questions and to question authority. And in our present age of claims to alternative facts and accusations of fake news, to present an outright falsehood to students on the same playing field as verifiable information—even temporarily—might be read, I know, as exacerbating all that is problematic about the postmodern marketplace of ideas, not as helping to explain those difficulties. As a result, I do think of this activity as one best placed late in a school term, after a certain trust and rapport within a classroom has been established.

But in my experience, explaining the idea of “the truth claim” as an abstract rhetorical idea only gets students so far. We can talk about how readers’ expectations are shaped by the label nonfiction or fiction on the back of a book. We can talk about how, in literary history, the dividing line between nonfiction and fiction has not always been as sharp as many would like it to be now.  And students can certainly offer accounts of their own experiences that “didn’t seem real” even as they were experiencing them, from the grief of losing a loved one unexpectedly to the euphoria of sharing a state championship with their teammates. They’ve all had reason to question their own realities, even if they don’t yet share the literary critic’s vocabulary for such an episode.

This activity has succeeded in my classroom not only because it helps students acquire that vocabulary, but also because it gives students a moment of genuine doubt as to why—or indeed, whether—the authority figure presenting them with a truth claim ought to be believed as representing something that is real. After all, to make a truth claim about a story is to make an assertion about what is ethical or desirable—or even possible—in the world we share. Discussing this idea, I would assert, requires attention to fact, to fiction, and to what things, both fruitful and dangerous, can follow when the lines between the two are blurred. I hope students leave this class session, then, with a solid introduction to American postmodernism, but even more so, a clearer understanding of what’s at stake when we call something true or false—or a little of both.


Contributor Bio: 

Matthew Luter (@matthewjluter) is on the English faculty at St. Andrew’s Episcopal School in Jackson, Mississippi. He is the author of Understanding Jonathan Lethem (University of South Carolina Press, 2015), and his articles, on authors including Don DeLillo, Ellen Douglas, Willie Morris, and Bret Easton Ellis, have appeared in journals including CritiqueThe Southern Literary JournalGenre, and Orbit.  He is a founding board member of the International David Foster Wallace Society.


The Field of Reads: Weird Adventures in Course Design and Planning

The texts for my honors, learning community, and writing courses.

The assigned books in my fall honors class are a weird mélange. Notice that I didn’t say “The books that I assigned…” A few of the included texts come via a menu of options generated by a committee of instructors teaching different sections of an honors class in the fall. Yes, I was part of the decision making process. Yes, I advocated for many of the books on the menu.

“Memory and Revision” is the loosely conceived theme of the fall honors course. The last time that I taught the course I imagined it as “History and Revision.” I tossed in Hamilton and The Female Review to augment the books I selected from the menu curated by the committee. (You can read more on teaching The Female Review with contemporary texts here.) These texts would still fit the theme. This time I wanted to use more contemporary texts.

My last honors class was a weird class. The students knew it was a weird class. We spent a lot of time on the things I knew best, but flew through things I wasn’t all that familiar with as a teacher or a scholar. It wasn’t a bad class, but it was off. I’m not saying the day-to-day functioning of the class was off. The texts fit together because of the theme. It was just weird. The students were troopers and helped the class work, too. Once we were all comfortable with each other we talked about the seemingly weird choices. I should have done that the first week of the semester.

This semester might be a weird mix, too. The texts themselves aren’t weird in the sense that Brie Jaquette wrote about here, but the pairings are weird. So, what is on the docket and why? Join me on a journey through this semester’s Field of Reads.

The Perks of Being a Wallflower by Stephen Chbosky
This is the summer reading. Students are asked to read this book over the summer, which I guess they will do. This text is common to all the honors classes. I advocated for the book during our meetings. Why? It was the shortest book; it was contemporary; it also seemed like the best option for students to read without any guidance. I was told it was a book that young folks often enjoyed reading. Other instructors pointed out that it worked well in class, too. I listened to an Audible version and absolutely loathed it. We’ll spend a week or two on the book at the semester’s start.

Fences and Radio Golf by August Wilson

Book Ends: A desk copy and a personal copy

I read Fences a long time ago. I saw a production of Fences a long time ago, too. I’ve never seen or read Radio Golf. These two texts are from the menu of common texts. I advocated for the inclusion of these texts. My last three years in Pittsburgh have shown me that students don’t really know much about Pittsburgh. Many of them aren’t from Pittsburgh. Many of them claim to be from Pittsburgh, but are from suburbs or communities a good distance away.

In today’s Pittsburgh many students don’t know the history. The Pittsburgh of today hides its old self, and its long-standing problems, behind its new, glossy image as a forward-moving tech-driven city. It’s a lie. The problems Wilson addresses in his plays remain for many of Pittsburgh’s citizens. You can stand on the campus where I teach and see the legacy of Urban Renewal. You can see the interstates cutting through the downtown. You can see the luxury apartments. The food deserts. It’s all there. I advocated for Wilson’s work because the problems he details are still here in this city, even if they’re masked to many college students behind a sleek office buildings and the glossy university ad campaigns extolling the virtues of going to school downtown.

The Book of the Dead by Muriel Rukeyser

Books of the Dead

This book isn’t part of the menu of books selected by the committee. The inclusion of this book is all on me. Rukeyser’s long poem details the story of the Hawk’s Nest Tunnel disaster and its aftermath. I’m including this book for many of the same reasons I advocated the selection of works by Wilson. Pittsburgh, of course, isn’t far from West Virginia, but West Virginia seems worlds away from Pittsburgh. I selected this text because it highlights the relationships between workers’ rights, the environment, issues of class, and issues of race. Rukeyser’s approach in The Book of the Dead fits the theme of history and memory—or memory and revision. Rukeyser’s poem is about many things, but I think justice, or more accurately injustice—or justice denied, is one of the important themes. I’m excited about including this text. I’m drawn to Rukeyser’s work because I love the ancient Egyptian Book of the Dead.

Book of the Dead
Book of the Dead of Hori, about 1969-945 BC; Cleveland Museum of Art

Rukeyser riffs off of  the ancient Egyptian text throughout her poem. I’ll be using the recently published edition of The Book of the Dead from West Virginia University Press. This new edition includes an excellent introductory essay by Catherine Venable Moore. (Read more about this landmark publication here.) As part of the unit on Rukeyser’s poem, we’ll take a look at some applicable passages from the ancient text that inspired her. Still, like the works by Wilson, it is an odd pairing with Perks of Being a Wallflower.

Akhenaten: Dweller in Truth and Before the Throne by Naguib Mahfouz

This novel rates Aten out of Aten

These novels by Naguid Mahfous aren’t from the menu of committee options. I selected these texts based on the history/memory/revision theme. I also selected these works because they are contemporary texts. Plus, I thought these texts would be a nice pairing with the Egyptian themes in Rukeyser’s poem. There was also that stray email I received announcing that the Middle East as a theme this year for my university. Akhenaten tells the story of the heretic pharaoh of the same name through the perspectives of individuals that knew him. It certainly is a text that fits the theme of revision since each of the characters recount the reign of Akhenaten from their own perspective. It is also one of the few texts that I’ve actually read. I read this years ago when I was seriously considering becoming an Egyptologist. It was the summer going into my sophomore year of college. If you can’t tell I still like Ancient Egypt.

A journey of 5000 years: From Narmer to Sadat.

The other book by Mahfouz, Before the Throne, covering nearly 5,000 years of Egyptian history, plays out through a tribunal before the court of Osiris as he and other gods of the Egyptian pantheon examine Egypt’s leaders. I hadn’t read the book until this summer, but I figured the book would fit the theme. I also see Before the Throne, with its invocation of a courtroom drama, as a fitting pairing with Rukeyser’s The Book of the Dead, especially because of the testimonial intertextuality of the poem. With these last three pairings we loop back to the theme of justice, too.

Let’s Get Weird
On the first day of the semester I’m planning on doing Abigail Burnham Bloom’s “First Paragraphs” activity from The Pocket Instructor: 101 Exercises for the College Classroom. (Read Shelli Homer’s review of The Pocket Instructor here.) In this exercise, students are presented a handout with all of the first paragraphs from the novels assigned for the semester. The activity serves as a way for introducing the texts and course to students. Plus, it is an activity that gets students (and the instructor) away from the standard go-over-the-syllabus-day. The activity provides an opportunity for students to meet the texts, ask questions, make connections, and start thinking about close reading.

Not Feeling So Weird
I’m about to email the book list to the students enrolled in the honors course. That soon-to-come email is the occasion for thinking about my weird class. I started writing this post because I wanted to explain my weird class, I guess, to myself. The summer is a long break between placing a book order and writing a syllabus. One can forget a lot about the solid choices that inform a book order.

Weigh In
Anubis says: Be sure to weigh in with your thoughts! Detail of a coffin at the Cleveland Museum of Art

A thousand words later and I feel a lot better about my weird class. Does your class feel weird because it needs to fulfill programmatic expectations or include texts from a menu curated from a committee? How much do you share with students about course planning and the choices that you make? We’d love to hear from you! Weigh in with a comment below or give us a shout on Twitter or Facebook!

All photos by the author.