At a time when the once clamorous postmodern debate sounds like a thing of the distant past, an event moreover best left that way in the eyes of many, aspiring to ``make it new`` in the vein of Ezra Pound may seem like an unlikeliest, if not downright misguided, endeavor. How to Get Filthy Rich in Rising Asia (2013), the third novel by the Pakistani writer Mohsin Hamid, challenges that historicist commonplace in at least two respects. For underneath the generic parody of self-help conventions foregrounded by the text, even the most jaded reader would discover what still makes great literature great: namely, the affective power of (a) narrative voice/s and the singular mark of sensibility that transcends every question of style, two factors already foreshadowed, in fact, at the level of the text title which displays in full view snobbism at its rawest manifestation alongside various dichotomies (sociohistorical, geopolitical, etc.) preconditioning it. That this ingenious effect turns out to be no result of a blind luck is attested by Hamid`s previous work, The Reluctant Fundamentalist (2007), whose title once again poses the question as to what really is the more fundamentalist of all fundamentalisms: indeed, is it not our own unwavering faith in the so-called capitalist ``fundamentals``-however marred or bolstered by our begrudged cynicism-the most trenchant of all ideological fixations? In comparison, Hamid`s first novel The Moth Smoke (2000) would seem to reascertain Wilde`s dictum which proclaims practice always precedes perfection. Yet, even in that initiatory outtake where poetic intermittently soars above the prosaic, the two highlighted motifs of SUV (Sports Utility Vehicle) and boutique come alive to effectively problematize the fetishist logic underpinning the globalized condition of mass consumption, thereby paving the way for the burgeoning trajectory of one extraordinary literary career. But then, to revert to our initial analogy of literary lineage, this uncompromising creative effort which bears the name Mohsin Hamid would appear to have more in common with the spirit of Paterean aestheticism than that of garden-variety modernisms, for as Hamid`s writings avowedly and repeatedly make it clear, the temporal index of the ongoing ontological battleground known as the neoliberal order will have once again revolved around the moment in its sheer implosive potential rather than the quotidian as such which, for all intents and purposes, appears to have lost its residual aura qua configurative unit.