Some of the dominant features of postmodern fictions include temporal disorder, the erosion of the sense of time, a foregrounding of words as fragmenting material signs, a pervasive and pointless use of pastiche, loose association of ideas, paranoia and the creation of vicious circles or a loss of destination between separate levels of discourse, which are all symptoms of the language disorders of postmodernist fictions.
The postmodern novel may be summed up as:
• Late modernism.
• Not avant-garde tendency (may be avant-garde within a literary period).
• Emphasizes plot than character.
• Characters are fragmented/multiple.
• Denigration of female writers.
• Matter of packaging.
• Narcissistic project.
• Disrupt of modernist convention.
• Structural features.
• Use of authorial persona.
• Introducing one ontological level into another ontological level.
• No real story.
• Postmodern metafictional situation which is different from modernist metafictional situation (emphasizing reading rather than the writing).
Practice of postmodernism in novels and other literary fields has almost become an international phenomenon. As A.S.D. Pillai argues:
Post-modernism is the term used in literary parlance to refer to a corpus of literature that has been written in the mid-fifties, sixties and after, largely in America, and to a lesser extent in Latin America, Europe and Britain. Postmodernism is thus an international literary phenomenon, in the first place, that is including as it does in its canon the pioneers: the Argentanian Jorge Luis Borges and the Russian expatriate, Vladimir Nabokov; the chief French practitioner, Alain Robbe-Grillet; such latter-day British instances as Iris Murdoch, Doris Lessing, B.S. Johnson and John Fowles; and by now well-known American figures like Thomas Pynchon, Kurt Vonnegut, Norman Mailer and John Hawkes, to mention a select few (12).
A lot of fiction in England and America were produced since nineteen sixties with the elements of postmodernism. Choudhary states:
The major feature of this kind of fiction lies in the subversion of the assumptions and generic traits and function of fiction, including modernist novel. Generically postmodernist fiction is self-questioning in nature, skeptical about its possibilities, rules and principles. Its function is disillusionary; it dives into the underside of fiction and explodes its fallacies…Postmodernist text directs itself to the suspension of meaning by using disruptive narrative, polyphony, multiple ending and the like thereby frustrating intelligibility. It is devoid of teleology and causality (12).
Some critics are of the view that postmodern fictions do not convey any moral values and imparts untrue elements. “In a postmodern word, literature is just another text. You can forget all that stuff about truth and value—and other alienating lies perpetual by a deliberately selective...