This collection examines the dynamic experimentation of contemporary women writers from North America, Australia, and the UK. Blurring the dichotomies of the popular and the literary, the fictional and the factual, the essays assembled here offer new approaches to reading contemporary women fiction writers' reconfigurations of history.
Metafiction is one of the most distinctive features of postwar fiction, appearing in the work of novelists as varied as Eco, Borges, Martin Amis and Julian Barnes. It comprises two elements: firstly cause, the increasing interpenetration of professional literary criticism and the practice of writing; and secondly effect: an emphasis on the playing with styles and forms, resulting from an enhanced self-consciousness and awareness of the elusiveness of meaning and the limitations of the realist form. Dr Currie's volume examines first the two components of metafiction, with practical illustrations from the work of such writers as Derrida and Foucault. A final section then provides the view of metafiction as seen by metafictional writers themselves.
This book offers an introduction to a literary phenomenon lauded by academic readers and critics but which many find impenetrable or exasperating: metafiction, the fiction that is about writing fiction.
Metafiction explores the great variety and effects of this popular genre and style, variously defined as a type of literature that philosophically questions itself, that repudiates the conventions of literary realism, that questions the relationship between fiction and reality, or that lies at the border between fiction and non-fiction. Yaël Schlick surveys a wide range of metafictional writings by diverse authors, with particular focus on the contemporary period. This book asks not only what metafiction is but also what it can do, examining metafictional narratives' usefulness for exploring the role of art in society, its role in conceptualizing the figure of author and the reader of fiction, its investigation and playfulness with respect to language and linguistic conventions, and its troubling of the boundaries between fact and fiction in historiographic metafiction, autofiction, and autotheory. Metafiction is an engaging and accessible introduction to a pervasive and influential form and concept in literary studies, and will be of use to all students of literary studies requiring a depth of knowledge in the subject.
The Politics of Privacy in Contemporary Native, Latinx, and Asian American Metafictions is the first book-length study to approach contemporary issues of racialized visibility and privacy through narrative form. Using a formal maneuver, narrative privacy, Colleen G. Eils analyzes how writers of contemporary metafictions explicitly withhold stories from readers to illuminate and theorize the politics of privacy in a post-9/11 US context. As a formal device and reading strategy, narrative privacy has two primary critical interests: affirming the historically political nature of visibility, particularly for people of color and indigenous people, and theorizing privacy as a political assertion of power over representation and material vulnerability. Eils breaks strict disciplinary silos by putting visibility/surveillance studies, ethnic studies, and narrative studies in conversation with one another. Eils also puts texts in the Native, Latinx, and Asian American literary canon in conversation with each other. She focuses on texts by Viet Thanh Nguyen, David Treuer, Monique Truong, Rigoberto González, Nam Le, and Stephen Graham Jones that call into question our positions as readers and critics. In deliberately and self-consciously evading readers through the form of their fiction, these writers seize privacy as a political tool for claiming and wielding power in both representational and material registers.
Metafiction begins by surveying the state of contemporary fiction in Britain and America and explores the complex political, social and economic factors which influence critical judgment of fiction. The author shows how, as the novel has been eclipsed by the mass media, novelists have sought to retain and regain a wide readership by drawing on the themes and preoccupations of these forms. Making use of contemporary fiction by such writers as Fowles, Borges, Spark, Barthelme, Brautigan, Vonnegut and Barth, and drawing on Russian Formalist theories of literary evolution, the book argues that metafiction uses parody along with popular genres and non-literary forms as a way not only of exposing the inadequate and obsolescent conventions of the classic novel, but of stuggesting the lines along which fiction might develop in the future.
