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Why aren't the unambiguous literary achievements of Nabokov, especially Pale Fire and Lolita, on this list? If the defining feature of postmodernism is a metatextual nature and unreliable narrator, well, um, let's include king of it. Hell, there is quite a bit of Faulkner that is pretty close to postmodernism, too, including Absalom and As I Lay Dying, two of his very finest works. I personally view the critical achievement of Ferrante's Neapolitan novels as resting heavily on unreliable narration, though this might be more controversial and my idiosyncratic interpretation. In SF, it is precisely the postmodernism of Wolfe that puts him on a tier far above all others.
In your list, I really only see Vonnegut as having true critical achievement, so I am concerned that this is far more a critique of middlebrow than it is postmodernism.
Man I like Wolfe, and he's undoubtedly got a gift for the striking image. But I remember reading a critique once that said, basically: Wolfe takes a fairly conventional sf/f plot and storyboards it out a-b-c-d. Then he decides which parts of the structure to remove or obfuscate to get the reader to play literary guessing games. Ever since then, that critique has always been at the back of my mind. I think it works, but I get why some people thinks it's a writers parlor trick.
This criticism of Wolfe's obfuscation as a parlor trick reminds me of Wallace Stevens' critique of TS Eliot, with Stevens saying that Eliot fails to make "the visible a little hard to see". Not that Eliot's poetry is particularly obvious to interpretation, but I would argue that some degree of obfuscation is actually quite important for artistic achievement, kind of like how there is not much purpose to a merely photorealistic painting.
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On what list? Did you mean to reply to the OP?
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