This introduction offers an extended reading of David Foster Wallace’s 2000 foray into political journalism, “Up, Simba,” which illustrates what will be the central claim of this book: that literary post-postmodernism is best understood as the means by which left-leaning writers negotiate the neoliberal turn — a version of, rather than an alternative to, this new consensus. To make that case, I trace connections between the communitarian logic of the so-called New Sincerity, the form of post-postmodernism most closely associated with Wallace, and the interventions of Bill Clinton and the New Democrats, who rejected key New Deal principles in favor of a "third way" between liberalism and conservativism. This introduction also historicizes "postcritique" and the various "post-ideological" accounts of neoliberal culture, accounts which, in my view, reproduce contemporary liberalism’s ambivalence about the free market and free-market politics, and therefore can be understood as symptomatic of the very changes they seek to interpret.

This chapter explores texts that articulate the differences and continuities between Reaganite neoliberalism, as represented by Bret Easton Ellis’s American Psycho, and Clintonian neoliberalism, as represented in Clinton’s own speeches, Joe Klein’s Primary Colors, and the work of Mary Gaitskill. Clinton’s defense of welfare reform attaches a therapeutic rationale to right-wing ideals like “personal responsibility," and we see this same logic in in Gaitskill’s post-feminist interventions into ‘90s-era debates about female masochism and campus sex codes. We also see how this personalizing logic resolves political conflict in her novel Two Girls, Fat and Thin, in which what could be understood as an ideological disagreement about capitalism — the tension between a left-leaning journalist and a follower of a thinly-veiled version of Ayn Rand — proves to be a product of the two women’s failure to take "responsibility" for their own emotional experiences. In this chapter, I also examine how the logic of welfare-reform is contested by novels like Richard Price’s Clockers and Sapphire’s Push, both of which seek to demystify the “workfare” state’s idealization of legal, low-wage work.