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Katharine Cox and Kate Watson

). 4 It is not the purpose of this introduction to explore the contemporary cultural period, but there is a shift associated with ideas of metamodernism that is evident in these contemporary works, as the tattooist’s ability to ‘call forth’ an inner truth or identity is obvious in a number of examples. This can be seen in Hal Duncan’s new weird series which uses ‘graving’ as an external mark of bringing forth an inner self. For a detailed discussion of metamodernism, see Robin van den Akker et al . (eds) ( 2017 ). 5 Contemporary tattoo

in Tattoos in crime and detective narratives
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Contemporary criticism and the untimely
Daniel Lea

reached the point where the experiments in form and style that constituted postmodernism in literature can be labelled as belonging to the twentieth century, whilst we are said to be inhabiting the digimodern, the altermodern, the hypermodern, the metamodern, the exomodern, or, most nonsensical of all, the post-postmodern.1 If we add to this the anthropocene, the period of postconsensus, the neoliberal period, late capitalism, the posthuman (with its offshoot, sentimental posthumanism), and the re-emergence of a pan-humanism, we are present in an era of truly dizzying

in Twenty-first-century fiction
Susan Stanford Friedman

‘Alternatives to periodization’. For particularly insistent defences of conventional periodization, see David James and Urmila Seshagiri, ‘Metamodernism’; Richard Begam and Michael Valdez-Moses (eds), Modernism, Postcolonialism, Globalism . 19. Friedman, Planetary Modernisms , pp. 88–91. 20. Pascale Casanova, World Republic of Letters , p. 4. 21. Ibid. , p. 11. 22. Ibid. , p. 24. 23. Édouard Glissant, Poetics of Relation , p. 23. 24. Ibid. , p. 24. 25. Ibid. , p. 73. 26. Édouard Glissant, ‘Concusion: Unforeseeable diversity’, p. 290. 27

in 1913: The year of French modernism