This essay argues that the contemporary Lagos novel performs Ernst Bloch's concept of Ungleichzeitigkeit (nonsynchronicity) not merely as thematic preoccupation with urban disorder but as a constitutive formal principle that fundamentally revises the temporal assumptions underwriting Euro-American high modernism. Reading Teju Cole's Open City, Chris Abani's GraceLand, and Sefi Atta's Everything Good Will Come through the lens of Bloch's Ungleichzeitigkeit, the essay contends that these texts reveal nonsynchronicity in the postcolonial city to be not a transitional condition awaiting resolution into capitalist modernity but a permanent, generative, and aesthetically productive mode of being and narration. The essay further argues that this formal insight compels a retheorization of modernist urbanism itself, exposing the Eurocentric temporal teleology embedded in canonical accounts of literary modernism from Georg Lukács through Fredric Jameson to Franco Moretti. Against these totalizing frameworks, the essay proposes the category of postcolonial nonsynchronism as a theoretically precise and historically grounded alternative for reading the Lagos novel and, by extension, for understanding the relationship between postcolonial urbanism and global literary modernity.