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This theme involves anachronisms, non-linear timelines, and temporal loops. 'The French Lieutenant's Woman' by John Fowles and 'Cloud Atlas' by David Mitchell serve as examples.

A literary style that incorporates fantastical elements into otherwise realistic settings. Gabriel García Márquez's 'One Hundred Years of Solitude' and Salman Rushdie's 'Midnight's Children' are key examples.

Use of humor, pastiche, irony, and playfulness to challenge established norms, as seen in works like 'White Noise' by Don DeLillo and 'Postmodern Pooh' by Frederick Crews.

Characterized by an excessive, over-the-top approach to style and subject matter, David Foster Wallace's 'Infinite Jest' and Thomas Pynchon's 'Against the Day' demonstrate this theme.

This theme explore the effects of technology on culture and reality, as in 'Snow Crash' by Neal Stephenson and 'The Crying of Lot 49' by Thomas Pynchon.

A critique of consumption and the commodification of experience, found in 'Fight Club' by Chuck Palahniuk and 'American Psycho' by Bret Easton Ellis.

Many postmodern works exhibit a dark, cynical outlook on life and humanity, as shown in 'Fight Club' by Chuck Palahniuk and 'American Psycho' by Bret Easton Ellis.

Deliberate use of multiple meanings and indeterminacy in language to create uncertainty. Works like 'The Crying of Lot 49' by Thomas Pynchon and 'Pale Fire' by Vladimir Nabokov embody this theme.

This technique breaks the fourth wall, reminding the reader that they're reading a work of fiction. Examples are 'At Swim-Two-Birds' by Flann O'Brien and 'House of Leaves' by Mark Z. Danielewski.

Characters often feel overwhelmed by a perceived global conspiracy or impending doom, as seen in 'Gravity's Rainbow' by Thomas Pynchon and 'Infinite Jest' by David Foster Wallace.

A copy with no original, or hyperreality that precedes reality; prominent in 'Simulacra and Simulation' by Jean Baudrillard and featured in 'The Matrix' film series.

Fiction that is self-conscious about history and its narratives, such as 'The French Lieutenant's Woman' by John Fowles and 'Midnight's Children' by Salman Rushdie.

Disjointed narratives and a breakdown of plot continuity exemplify fragmentation. Examples include 'The Waste Land' by T.S. Eliot and 'Slaughterhouse-Five' by Kurt Vonnegut.

This involves the shaping of a text's meaning by another text. Examples are 'The Hours' by Michael Cunningham, which draws from Virginia Woolf's 'Mrs. Dalloway', and 'Lost in the Funhouse' by John Barth.