My second chapter begins with a comparison of Jonathan Franzen and Ben Marcus, two writers who embody the competing aesthetic visions of contemporary “realists” and “experimentalists.” Focusing on their work and their high-profile debate about literary difficulty, I argue that their mutual commitment to their “community of readers” (as Franzen puts it) and to narratives of “the family gone wrong” (as Marcus puts it) actually points to a shared social vision, a vision in which “family” values are more important than aesthetic and political antagonisms. This focus on the family also cuts across the oppositions central to contemporary American politics, I show, and it informs the fiction and criticism of writers like Jeffrey Eugenides, Aimee Bender, and George Saunders. This domestic turn is figured, in several of these texts, as a revision of both American individualism and postmodern impersonality. I make the case that this triangulating impulse generates a range of formal innovations, from Eugenides’s re-invention of “the marriage plot” to Marcus’s self-reflexive blending of experimental impersonality and post-postmodern “emotionality.”