但是，生活在二战后时代的读者关心的是新的。关于种族，性别，阶级的观念正在发生变化，文学既是因果关系。读者对一个相互联系的世界有了更广泛的理解，人们，图片和文字以翘曲的速度向各个方向传播。 “年轻人说出自己的想法”的想法不再是新的。一个目睹了极权主义，帝国主义和企业集团的世界无法扭转那个时钟。也许最重要的是，今天的读者带来了一种强硬的现实主义，这种现实主义源于考虑种族灭绝的严重性以及常常生活在自我毁灭的边缘。这些现代主义的标志可以在各种各样的作品中看到。最近获得诺贝尔文学奖的获奖者一眼就看到了Orham Pamuk，他探讨了现代土耳其社会的冲突; J.M. Coetzee，在后种族隔离后的南非最着名的白人作家;而冈特·格拉斯（Gunter Grass）的小说“铁皮鼓”（The Tin Drum）也许是对二战后灵魂探索的开创性探索。除了内容，现代经典也展示了早期时代的风格转变。这种转变始于本世纪初，詹姆斯·乔伊斯（James Joyce）等名人将小说作为一种形式扩展。在战后时代，海明威学校强硬的现实主义变得不那么新颖，而且更具要求。文化转变意味着曾经被视为蛮横的猥亵行为是司空见惯的。在现实世界中，性“解放”可能更像是一种幻想，而不是现实，但在文学中，人物肯定比以往更随意地睡觉。随着电视和电影的发展，文学也表明了它愿意在页面上洒血，因为曾经甚至没有被提及的暴力恐怖现在成为畅销小说的基础。一个现代经典是杰克凯鲁亚克的在路上。它是现代的 – 它以轻快，无气息的风格写成，它关乎汽车和倦怠，轻松的道德和充满活力的青春。这是一个经典 – 它经得起时间的考验，具有普遍的吸引力（至少，我认为它确实如此）。经常出现在当代经典名单之上的另一部小说是约瑟夫海勒的Catch-22。它肯定符合经久不衰的经典的每一个定义，但它是完全现代的。如果第二次世界大战及其分支标志着边界，那么这部荒谬的战争小说在现代方面肯定存在。
However, readers living in the post-World War II era are concerned about new ones. The concept of race, gender, and class is changing. Literature is both a causal relationship. The reader has a broader understanding of an interconnected world in which people, pictures and texts travel in all directions at a warping speed. The idea that “young people say their own ideas” is no longer new. A world that has witnessed totalitarianism, imperialism and corporate groups cannot reverse that clock. Perhaps most importantly, today’s readers have brought about a tough realism that stems from considering the gravity of genocide and often living on the brink of self-destruction. These signs of modernism can be seen in a wide variety of works. The winners of the recent Nobel Prize in Literature saw Orham Pamuk at a glance, discussing the conflicts in modern Turkish society; JM Coetzee, the most famous white writer in South Africa after post-apartheid; and Gunter Glass Grass’s novel “The Tin Drum” may be a groundbreaking exploration of soul exploration after World War II. In addition to the content, modern classics also showcase the style shift of the early era. This transformation began in the beginning of this century, when celebrities such as James Joyce extended the novel as a form. In the post-war era, the tough realism of Hemingway School became less novel and more demanding. Cultural change means that swearing behavior that was once considered arrogant is commonplace. In the real world, sexual “liberation” may be more like an illusion than a reality, but in literature, characters must sleep more casually than ever before. With the development of television and film, literature also shows that it is willing to sprinkle blood on the page, because violent horror that has not even been mentioned is now the basis of best-selling novels. A modern classic is on the way to Jack Kerouac. It’s modern – it’s written in a brisk, breathless style, it’s about car and burnout, relaxed morality and vibrant youth. This is a classic – it can stand the test of time and has a universal appeal (at least, I think it does). Another novel that often appears on the contemporary classic list is Joseph Heller’s Catch-22. It definitely fits every definition of the enduring classic, but it is completely modern. If the Second World War and its branches mark the border, then this absurd war novel must exist in modern times.