Lanzendörfer’s collection is thus concerned with delineating the multiple roles genre plays today, and the essays it contains make a valuable contribution to our understanding of a central feature of much contemporary fiction. . . . . Read together, then, Martin and Lanzendörfer’s books offer a compelling picture of a cultural world in which genre is coming to play an ever more significant role, a cultural world which may well be remembered, for good and ill, as an age of genre. Martin writes [in Contemporary Drift: Genre, Historicism, and the Problem of the Present] that “the best way to understand the repetitions of late capitalism may be through the mechanisms of genre” (182). It would be difficult to make a stronger claim than this for the importance of these two books.