Modernism stands as the signal literary upheaval of the long 20th century, and yet the tenuousness of its appeal to “make it new,” as Ezra Pound commanded, entails the period or periods that follow are likewise uncertain save in their reference to modernism. However, even here there is ambivalence: contemporary authors might be charted regarding their modernist literary forebears, yet many explicitly reject modernist methods altogether; others continue this legacy, and still more look to complexly incorporate and negotiate modernist methods. Likewise, theoretical accounts of postwar fiction mark what comes after in reference to modernism: postmodernism, post-postmodernism, and the like. Modernism’s outsize shadow stems from its association with literary experimentation, aesthetic innovations elevating its austere emphasis on form above such traditional concerns as telling stories and creating characters. Though swaths of Anglophone fiction reject these modernist impulses and return to realist narratives, contemporary fiction must also be viewed as occurring within an era in which modernism has become institutionalized in university reading lists and the practices of their creative writing programs. Fiction after modernism thus might be best viewed as encompassing competing impulses, often within the same text or author: to revert to traditional modes of storytelling and thereby reject modernism; to borrow aspects of modernist technique but develop them so form might convey not only a sense of interior experience or textuality but also situate characters and texts socially (and globally); and to return afresh to those literary experiments, investing them with new relevance. These divided relations between contemporary fiction and aesthetic modernism underscore a complex and conflicted temporality operative within the very conceptions of both modernism and the contemporary.