I’m reading for an essay on Tom Perrotta’s Election and Anita Shreve’s Testimony and came across this, from Timothy Aubry’s “Middlebrow Aesthetics and the Therapeutic: The Politics of Interiority in Anita Shreve’s The Pilot’s Wife:” “Although occasionally called upon to perform certain emeritus functions, the omniscient narrator has retired decisively from the scene of contemporary United States fiction.” Translated from academic-ese to English, this roughly means, “Contemporary writers seldom use omniscient narrators.” If absolutely necessary, you could say, “Contemporary American writers seldom use omniscient narrators.”
EDIT: And, for an entertaining counterpoint, Paul Dawson says in “The Return of Omniscience in Contemporary Fiction:”
I want to begin this essay by pointing out what I think has become a salient feature, or at least significant trend, in contemporary British and American literary fiction: namely, a prominent reappearance of the ostensibly outmoded omniscient narrator. In the last two decades, and particularly since the turn of the millennium, a number of important and popular novelists have produced books which exhibit all the formal elements we typically associate with literary omniscience: an all-knowing, heterodiegetic narrator who addresses the reader directly, offers intrusive commentary on the events being narrated, provides access to the consciousness of a range of characters, and generally asserts a palpable presence within the fictional world.
So what’s happening to omniscient narrators? Are they “seldom use[d]” or making “a prominent reappearance?” Or both?