What is postmodernism? Well, postmodernism began after modernism. That’s why it’s called postmodernism. To understand the concept of postmodernism, we must first look at modernism.
Modernism began about 150 to 200 years ago. When the classification was invented, it was modern. However, 54 years after the invention of modernism, modernists began to recognize that modernism was no longer modern. It was, in fact, old. That was a problem.
In the late 1950s, modernists began a desperate search for a new classification. The modernists were increasingly embarrassed by modernism, a term that became more ridiculous with each passing decade.
At the same time, modernism posed a serious threat to the very nature of artistic classification, a system that was once beautifully organic. Every new artistic creation was inherently modern — there was no denying it. So where could art possibly go from here?
Despite supposedly being good with words, the modernists could not think of a new name. Young modernists, however, were much younger than old modernists and a lot more modern. They were also particularly keen for a new name that would make them different from the aging modernists, who were now all dead or dying (and whose modernist works had largely gone out of print).
Finally, the young modernists settled upon a new classification: postmodernism. It was a logical name and much catchier than the alternatives, which included new-modernism, after-modernism and modern-modernism.
No one actually knew what the difference was between modernism and postmodernism (no one ever really knew what modernism was in the first place — it was just new). The new postmodernists, however, were happy with the fact that postmodernism did, without a doubt, come after modernism. They were delighted.
Since August 24, 2001, postmodernists have begun to reevaluate the nature of postmodernism. Postmodernists have always enjoyed the postmodern classification due to its meaninglessness. However, some postmodernists began to miss the old days of meaningful categorization.
These post-postmodern modernizers have now split into two distinct strands. The first strand has developed a new postmodern perspective bolstered by traditional modernism. The second strand has given up on postmodernism completely. In the literary world, these non-post-postmodernists now dedicate themselves to writing romantic horror novels, particularly works that involve teenage vampires.
These non-post-postmodern romantic horror writers are delighted, mainly because they have become popular, something that has eluded most traditional modernists, postmodernists and post-postmodernists.