Reading lists, course syllabi, and prizes include the phrase '21st-century American literature,' but no critical consensus exists regarding when the period began, which works typify it, how to conceptualize its aesthetic priorities, and where its geographical boundaries lie. Considerable criticism has been published on this extraordinary era, but little programmatic analysis has assessed comprehensively the literary and critical/theoretical output to help readers navigate the labyrinth of critical pathways. In addition to ensuring broad coverage of many essential texts, The Cambridge Companion to 21st Century American Fiction offers state-of-the field analyses of contemporary narrative studies that set the terms of current and future research and teaching. Individual chapters illuminate critical engagements with emergent genres and concepts, including flash fiction, speculative fiction, digital fiction, alternative temporalities, Afro-futurism, ecocriticism, transgender/queer studies, anti-carceral fiction, precarity, and post-9/11 fiction.

Drawing on a wide range of material from art, theater, music, and literature, Contreras argues that historical memory is embedded in these forms of art and can perhaps take us "somewhere better than this place." The critical energies in the book come from Chicana/o and queer studies. Contreras views unrequited love as a utopian space of possibility and transformation. The discussion includes The Boys in the Band, Arturo Islas, Paris is Burning, Judy Garland, and Kiss of the Spider Woman.