Alexandra Dumitrescu’s essay describes the development of metamodernism in New Zealand and presents metamodernism as an interrogation of “modernist uprootedness or postmodern drifting.”

In an attempt to re-materialize postmodernism, Damien Gibson provides, by drawing on material ecocriticism and on the concept of “narrative agency,” a critical posthumanist reading of Jeanette Winterson’s The Stone Gods.

Simon During proposes to unravel the “layered” history of postmodernism in New Zealand. In so doing, the author of this essay treats postmodernism as “an event rather than a period” and describes postmodernism’s development in the epoch of neo-liberalism.

In an essay spanning modernist and postmodernist poetics, Lynley Edmeades demonstrates how postmodern poetry cultivates “present-ness” by drawing on Lyotard’s concept of “constancy,” Gertrude Stein’s notion of “continuous present” and Caroline Bergvall’s adherence to “non-linearity.”

While describing the work of Beckett as deeply influenced by nominalism, Holly Phillips explores “ineffable permutations of intellectual history” and demonstrates how medieval philosophy has deeply influenced twentieth century literature. Simultaneously, Phillips undermines the idea that nominalism’s dismantlement of universals has finally been accomplished by postmodernism.

Jacob Edmond argues that while postmodernism might be useless as a theoretical concept or periodization, it nevertheless illuminates changes, both local and global, in the final decades of the twentieth century. Edmond analyzes the uses of postmodernism in the United States, New Zealand, Russia, and China. He shows how the various and even contradictory uses of the term postmodernism allowed it to represent both sides in the unfolding tension between globalization and localism in late twentieth-century culture.

In this review, Manuel Portela considers Matthew G. Kirschenbaum's Track Changes in light of a "general computerization of the modes of production of writing."

In response to Jeanette McVicker's review of The Planetary Turn, John Bruni examines what it means to theorize a sense of the planetary.

Using recent events of planetary significance as a point of departure, Jeanette McVicker reviews The Planetary Turn: Relationality and Geoaesthetics in the Twenty-First Century, edited by Amy J. Elias and Christian Moraru.

Andrew Lindquist reviews Michael LeMahieu's Fictions of Fact and Value, examining the influence of logical positivism on American literature of the postwar era.

Jen Phillis situates Jessica Pressman's Digital Modernism: Making It New in New Media as a rejoinder to "Neoliberal Tools (and Archives)" by David Allington, Sarah Brouillete, and David Golumbia.

Afterthoughts on the end of the sixties, the death of the author, the rise of Theory and the fall of humanism.

In this review of How to Be an Intellectual: Essays on Criticism, Culture, and the University, Christopher Findeisen analyzes Jeffrey J. Williams's assessment of higher education in the United States. Linking the decline of funding for universities and colleges, rising student debt, the exploitation of academic labor, and the digital humanities, the review examines the omission of accounts of "the not-so-remarkable everyperson academic, the untenured, the up-and-comers, and the downtrodden."

Lisa Swanstrom interviews Matt Kenyon, founding member of S.W.A.M.P. (Studies of Work Atmosphere and Mass Production, co-founded with Doug Easterly), an Associate Professor of Art in the Stamps School of Art and Design at the University of Michigan, and a 2015 TED Fellow.

In this review of Heather Houser’s Ecosickness in Contemporary U.S. Fiction, Sharalyn Sanders identifies the hopeful potential for environmental justice via contemporary literature. Finding a solidarity implied between intersectional identities and ecocriticism, Sander’s finds in Houser’s call for “scholarly activism” an antidote to the detachment which threatens to thwart environmental awareness.