Urban fiction, also known as street lit or street fiction, is a literatury genre set in a city landscape; however, the  genre is as much defined by the socio -  economic  realities and culture of its characters  as the urban setting. The tone for urban fiction is usually dark, focusing on the underside of city living. Profanity, sex,  and  violence are usually explicit, with the writer not shying away from or watering – down the material.  Most authors of this genre draw upon their past experiences to depict their storylines,

According to Elizabeth Young in the essay anthology Shopping in Space,  “the city offers unparalleled  opportunities to the creative artist,” randing from “greet and  deviancy, crime, bohemianism, sexual excess, nightlife and narcotics.“

Some of the most prevalent cities in 20 th century  urban  fiction  are New York City, especially the neighborhoods  Greenwich Village,  Time Square,  and Harlem, Chicago, Los Angeles, and San Francisco. Hip hop lit ; hip hop music as an urban ballad

During the 1980 s and early 1990 s, urban fiction in print experienced a decline. However, one could make a cogent argument  that  urban tales  simply moved  from print  to music, as hip hop  music exploded  in popularity. Of course, for every emcee  who signed a recording contract and made the airwaves, ten  more amateurs plied the streets and  lokal clubs, much like  urban bards, griots or troubadours telling urban  fiction  in an  informal , oral  manner  rather than  in a  neat,  written fom.  Modern hip hop literature in print form is a thriving and popular genre.

Street lit; The yew wave of urban fiction 1990 s. Toward the end of the 1990 s, urbanfiction experienced a revival, as demand for novels authentically conveying the urban  experience increased, and new business models enabled fledcling writers to more  easily bring a manuscript to market and to libraries.

In tandem with the modernist movement that sought to challenge traditional modes of literary representation, so came a new wave of urban  fiction. 

According to Sorogdog Enkhbayar, “the alienated modernist  self is a product of the big city rather than the  countryside or small town… for  Komandir modernist front the Baatar Galsansukh and modernist Ch.Monkhbayar”