“Like ‘world music,’ the ‘world novel’ is a category to be distrusted; if it genuinely points to the transformed geography of the novel, it is also a marketing device that flattens distinct regional and linguistic traditions into a single cosmopolitan ‘world beat,’ with magical realism serving as the aesthetic of globalization, often as empty and contrived a signifier as the modernism and socialist realism it supplanted.”
This line gives a description that encapsulates the entire text. Denning is saying there is no way of providing a category of “world novel.” It is “empty and contrived.” However, he does have some works that he credits as being important components of world literature. In making a genre called “world literature,” however, it is difficult to include a collection that is truly representational of world literature. In the movement of world novels that he is describing, Denning refers to the influence of the experimental modernisms of the early decades of the century. But this can’t be placed into a single category, as he suggests. Instead, they are divergent in the Western modernism and postmodernism. This, however, transformed the history of the novel by having the idea that there is an “international” of novelists. This also represented the first real effort to create world literature. This novelist international was something that spanned the entire world, in a self-crafted attempt to create world literature. But as Denning points out, the artificial factor to crafting this world literature should be distrusted, as it was not genuine. Instead, it is a way of marketing international literature to the public, and cannot take into account the many works that deserve to be included in the category. The real result of this world literature did not have any value, but instead it only represented the socialist realism and modernism in a package of books.