This article examines how seven works of contemporary Nigerian fiction encode precarity as a master condition that produces linguistic fragmentation, mediated through digital aesthetics and ecological collapse, generating a sustained crisis of meaning in the twenty-first century. Drawing on Ken Saro-Wiwa's Sozaboy: A Novel in Rotten English (1985), Helon Habila's Oil on Water (2010), Teju Cole's Every Day Is for the Thief (2007) and Open City (2011), Chigozie Obioma's The Fishermen (2015), Chibundu Onuzo's Welcome to Lagos (2017), and Chimamanda Ngozi Adichie's Half of a Yellow Sun (2006), this study argues that writers deploy non-linear structures, disrupted temporality, and hybridized language practices, including code-switching, translanguaging, and strategic pidgin, to mirror the instability of socio-economic, political, and ecological conditions in Nigeria. The article situates these formal innovations within the expanding influence of digital culture and postcolonial precarity, interrogating how social media aesthetics and technological mediation reshape narrative authority, authorship, and reader engagement. Through close textual and discourse-analytic methodology, the study reveals that linguistic fragmentation is not merely stylistic but epistemological: it reflects fractured identities and contested realities while simultaneously generating new modes of resilience and meaning-making. Engaging theoretical insights from postcolonial studies, digital humanities, and sociolinguistics, particularly the translanguaging framework of Ofelia García and the digital humanities frameworks of N. Katherine Hayles, the article demonstrates that contemporary Nigerian narratives operate within a dynamic continuum where rupture and continuity coexist, challenging conventional interpretive frameworks and calling for a rethinking of how meaning is produced, negotiated, and sustained in an era marked by uncertainty and technological mediation.
