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Gass in an essay entitled “Philosophy and the
Form of Fiction” to characterize the radical narrative innovations of American writers such as John
Barth, Donald Barhelme, Raymond Federman, and Ronald Sukenick because these writers did not only
violate or subvert the dominant conventions of novel writing, but also explicitly discussed the act of
experimentation while they performed this very act.
Metafiction is fiction about fiction. It self consciously reflects upon its own nature, its modes of
production, and it always forces the reader to think about the nature of storytelling itself and how
fictional stories are made.
● Patricia Waugh (author of Metafiction: The Theory and Practice of Self-conscious Fiction
(1984)) comments that, “contemporary metafictional writing is both a response and a
contribution to an even more thoroughgoing sense that reality or history are provisional: no
longer a world of external verities but a series of constructions, artifices, impermanent
structures” ( 7). In her 1984 book-length study, Patricia Waugh proposes one of the most
influential definitions of “metafiction”: “fictional writing which self-consciously and systematically
draws attention to its status as an artifact in order to pose questions about the relationship
between fiction and reality” (2). Metafictional works, she suggests, are those which “explore a
theory of writing fiction through the practice of writing fiction”
● Explicit use of metafictional technique, as Waugh describes it, stems from modernist
questioning of consciousness and reality. The following terms are often used to describe
contemporary metafiction: self-conscious, introspective, introverted, narcissistic or
auto-representational
● Attempting to defend twentieth century metafiction, theorists link metafictional technique to
older literary works. Some supporters trace self-reflexivity as far back as Miguel Cervantes’
fifteenth century novel, Don Quixote. Hamlet’s references to acting in Shakespeare’s Hamlet
● Some critics charge that employing the term “metafiction” to refer to modern works that are
radically self-reflexive as well as to works that contain only a few lines of self-reflection
actually creates critical imprecision or ambiguity.
SPECTRUM OF METAFICTIONAL TECHNIQUE. Patricia Waugh identifies three types of
contemporary metafiction:
1) Subversion of the role of the ‘omniscient narrator’
2) Works that present a parody on a specific work or fictional mode
3) Works that are less overtly metafictional. These works attempt to create alternative linguistic
structures or to merely imply old forms by encouraging the reader to draw on his or her
knowledge of traditional literary conventions
CHARACTERISTICS
● Self-reflective: Metafiction, in general, is a novel about a person writing or reading a novel. It
addresses as part of the plot the devices of fiction. It is the term given to fictional writing which
self-consciously and systematically draws attention to its status as an artifact in order to pose
questions about the relationship between fiction and reality. It usually involves irony and is
self-reflective
● Non-linear: It violates time sequence and time frame. It is plastic in structure in the sense that
the arrangement is not rigid and can be rearranged. The novel provides narrative footnotes,
comments on itself to facilitate the better understanding of the reader. Metafiction uses
unconventional and experimental techniques by
○ Rejecting conventional plot
○ Refusing to attempt to become “real life”
○ Subverting conventions to transform “reality” into a highly suspect concept
○ Flaunting and exaggerating foundations of their instability
○ Displaying reflexivity (a function which enables the reader to understand the processes
by which they read the world as text)
● Authorial intervention: The author himself is often a character in the novel. The story
anticipates and begs the readers’ reaction. The narrator often turns critical and passes a
critique of his own creation.
○ Authors intruding to comment on writing
○ Authors involving themselves with fictional characters
○ Directly addressing the reader
○ Openly questioning how narrative assumptions and conventions transform and filter
reality
● Intertextuality: The idea of intertextuality suggests, in fact, that every piece of written work in
some way is related to other texts that already have been written. Types of intertextuality
include overt literary allusion, actual quotation from other works, and even plagiarism and
parody.
○ Examining fictional systems
○ Incorporating aspects of both theory and criticism
○ Creating biographies of imaginary writers
○ Presenting and discussing fictional works of an imaginary character
Which examples of devices characteristic of metafiction can you find in the texts?
Metafiction can be defined as a way of writing, or more precisely still as a way of consciously
manipulating fictional structures, of playing games with fiction. It must also be defined as a way of
reading, a critical paradigm which provides a new way of exploring meaning in literary works,
unearthing meaning structures which may be automatic, not deliberately planned by the writer but
rather reached through the spontaneous play of meaning or the interplay between writing and
reading.
Metafiction challenges many assumptions of criticism: that the work is silent about itself and waits for
the critic to interpret it, for instance. A metafictional work will often be outspoken enough about its
aims and technique. It criticises previous literary conventions (to some extent all literature does this),
but also its own conventions.