Metafiction As Genre Fiction Jeremy A

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Scholarly Undergraduate Research Journal at Clark

Volume 1 Article 8

October 2015 Metafiction as Genre Fiction Jeremy A. Levine Clark University

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Recommended Citation Levine, Jeremy A. (2015) "Metafiction as Genre Fiction," Scholarly Undergraduate Research Journal at Clark: Vol. 1 , Article 8. Available at: https://commons.clarku.edu/surj/vol1/iss1/8

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This manuscript is available in Scholarly Undergraduate Research Journal at Clark: https://commons.clarku.edu/surj/vol1/iss1/8 ------a marketplace, who stumbled upon a marketplace, incarnation Arabic “original” text’s the and translated at an outdoor market it into Castillan, so that the text could still appear to be nonfctional. Tis is one of discussion of the narrative obviously more Quixote’s Don Mark Blackwell discard “the notion notion “the discard Blackwell Mark play is the twentieth- that metafctive cheeky challenge to the century’s citing novel,” hegemony of the realist fctional experimentation the “meta imperi of ‘realist the advent before among others, Blackwell, alism.’” claims that early fction felt a need to call attention to its fctional nature was a lack of trust in because there concept of fction. Cervantes is often the modern for inventing credit given of the newness of the Aware novel. form, Cervantes an elaborate created detail Quixote, ruse within Don of the narrator ing the adventures as a translator) in to (whom he refers - - - Realist fction has a rich Realist Jeremy Levine Levine Jeremy is relatively new, the concept is as new, is relatively like Critics itself. old as the novel ectively stymying the progres stymying ible, efectively a whole. as sion of literature fction in History Meta metafctional tradition. Classic works Don de Cervantes’ such as Miguel metafctional elements, have Quixote despite being largely thought of as fction” While the term “meta realist. which metafction can be judged as of metafction, without the burdens will defne and, as a result It realism. complications, continu of various fction,” fne the term “meta ously rede standard at a broad to arrive in order against which metafction may be such Without fction. genre as judged may continue to classify we standards, to priorities metafction according with which it is incompat and values readers, in order to discuss criteria by discuss criteria by to in order readers, ------ction as Genre Fiction as Genre fction Meta New York. He is the Editor-in-Chief of Clark’s student newspaper, Te Scarlet, newspaper, student of Clark’s is the Editor-in-Chief He York. New in ofce. Jeremy Admissions for Clark’s Diarist and Coordinator and a Student works fction journal and non online creative an Journal, Worcester terns for Te Tis is his frst major research Center as a writing consultant. Writing at Clark’s meta Tesis, which is a full-length and is complementaryproject to his Honors but he up, be when he grows what he wants to does not know He fctional novel. reading. with writing and he wants to work knows Jeremy Levine is an English major and Political Science minor from Long Island, Long Island, from Science minor major and Political Levine is an English Jeremy Depending on who you on who you Depending paper seeks to unpack this notion and what makes precisely determine more with metafctional elements resonate ary climate requires that metafctional ary climate requires elements of stories be justifed. Tis ance of being true or real. Unlike Unlike ance of being true or real. like science genres, other non-realist liter the current fction and fantasy, genre, metafction is still able to de genre, which to a degree stories efective liver or the appear verisimilitude, discard pearing “real.” Tese critics contend pearing “real.” that, just like any other non-realist tion does not have to be bound by to be bound by tion does not have and should the constraints of realism not concern itself with ap therefore purport that a story to its that refers appear “real,” cannot fctional nature while others contend that metafc est innovation in an ever-changing in an ever-changing est innovation detractors of the genre’s feld. Many ask, metafction either sounded the or is the lat death-knell of literature mental art. is identity is based on open acknowledgement of the reader’s involvement in the text involvement the reader’s of deliberate artistic mission. Tis identity is based on open acknowledgement Tese fndings are meaning outside of itself. to deliver but also able and metafction which is not only self-aware acceptance of experi contributing to the academy’s old criticism, signifcant because they liberate a new feld from fc a case study of two meta Using standards. realism’s been damaged by has fctional nature, of its own awareness Way Its Takes the Course of Empire Westward Wallace’s Foster and David “Life-Story” Barth’s John tional works, while describing its realism isolates metafction from the paper both backdrop, against a historical and theoretical ect reality, tends to act as the default setting for establish fect reality, is expected to re literature in which the genre Realism, a work’s by characterized ing the worth piece. Tis paper contends that metafction, a post-modern genre of a given Abstract 63 Humanities Humanities 64 ------Deciding whether metafc Deciding Louis D. Rubin considers Rubin Louis D. of realism requires deciding whether requires of realism may be asserted presence an author’s in a way which does within a work not belittle its mimetic properties: in short, whether the author may be ex without “intruding.” plicitly present metafctional elements a story’s If in this novel until this point , arrives , arrives until this point in this novel At the day. on the scene and saves can seem arrival Sawyer’s Tom frst, with like the kind of discrepancy the physical world which is forgiv discussion of to our able according physical mimesis. over psychological as Te Tis is not the case, however, Finn of Huckleberry Adventures which necessitates an ending by their problems solve and Jim Huck friendship and using their own wits as their only tools. Te ending is emotion Sawyer Tom involving and shortchanges the ally irrelevant virtue that a reader psychological A a novel. expects to come from physical intrusion has become a mimetic intrusion. tion can be judged independently not ruin properties the mimetic of Tis is the primary condi the story. which metafction must tion under operate. in “authorial the often-used phrase to a moment in which refers trusion” instead of presence… author’s “the parthelping us to take fctional in a doing us from situation… impedes of to Te Adventures refers He so.” example, as an Finn Huckleberry ending relies arguing that the story’s luck to be too heavily on dumb intruded Twain convincing, and that into the story abusing his power by as the sole agent capable of creating world. At and Jim’s in Huck events is being Jim the end of the novel, and Farm, at Phelps’ held captive is trying out. him to break Huck who is not a character Sawyer, Tom ------John Gardner, in Te Art of Gardner, John dream, but these disruptions must dream, fect the logically and emotionally re humans. As such, goings-on of real mimesis does not concern the ac of the world as curate representation “truth it physically exists, but rather, [re of sensation and environment… quiring] sociological and psychologi cal concepts of behavior and mental these defnitions, Under processes.” fction can still be mimetic while ignoring the idea of continuous narrative act itself is, for the reader, is, for the reader, act itself narrative and so ignoring part of the action,” of a story component the narrative have genres Some seems to be folly. of this lack of a taken advantage of complete continuous recognition of that the presence ness, knowing or an alien will not upset a wizard What read deal. a great a reader and is that these wizards ers require in ways which psycho aliens behave reader’s attention and, ideally, cause cause attention and, ideally, reader’s to forget that they are the reader Tis is good advice a story. reading for a writer who must learn to create but can be a continuous narrative, if it leads to a dependence dangerous be could ever reader No on realism. completely bamboozled into believ is ing that the story reading they are their eyes. actually playing out before “the to Hutcheon, fact, according In the assumptions of realism, namely of realism, the assumptions which disruptsthat any element the so illusion of fction is a detriment, fairly evaluated are that these works out of hand. and not rejected Young for on Craft Notes Fiction: and to the “vivid refers Writers the notion that continuous dream,” the a piece of fction should ensnare Hutcheon’s statement suggests that statement Hutcheon’s newcriticism, categories of create we ction as metaf can address ones that is important to liber metafction. It feld of criticism ate this proposed this paper) from (i.e. the subject of ------Te infexibility of realism- While a modern reader modern reader While a

be. ing… ‘unrealistic’ might suggest that might suggest ing… ‘unrealistic’ criticism certain categories of novel as inadequate.” being revealed are to precede it. She writes that the it. She to precede of much reviews “largely negative new metafction on the basis of it be conform to scholarly expectations; art, try not criticism must follow based scholarship is damaging to argues metafction. Linda Hutcheon that art attempt to should never fction in Teory Meta to ctional moments, as the nar metafctional moments, the text came how rator is discussing genre which must be considered on which must be considered genre merits. its own shoot of realism metafction as an ofshoot of realism rules. realism’s which has to play by metafction is its own reality, In as realist stories with metafctional as realist elements, scholarship can limit the novel itself, dating back to when dating back to when itself, the novel governing no “rules” were there classifying these works fction. By realism (as is the accepted narrative (as is the accepted narrative realism metafction in the twenti regarding eth century), as old as but as a genre we will remain with Blackwell’s idea with Blackwell’s will remain we a reac than of metafction as more established by tion to the “rules” ective, an the text less efective, rendering now, For issue to be discussed below. A modern reader who is not using who A modern reader translation may miss Grossman’s parody, this small part of Cervantes’ alerts the reader of its own fctive of its own alerts the reader situation making the ness, thereby metafctional in two separate ways. Don Quixote parodies. By referenc By parodies. Quixote Don ing legendary Quixote texts, Don multiple narrators telling the same multiple narrators story of chi a common feature is the very that romance, genre valric ed with classifying satisfed with classifying might be fction, Gross this incident as meta a footnote that man points out in

------son, how one searches for meaning one searches son, how in the world, and what it means to a meaningful life story–ideashave an not at all useless. Using which are express to able is he author-character, this idea of the intensity of sadness. on what has been said above, Based ote’s constant mistake) will be both constant mistake) will ote’s is then G and absurd. dangerous he wishes to be caught in a paradox: in a fctional story which is exciting, that he does not want to but knows be in a fctional storyWhen G at all. a reader that fction requires realizes projected to operate, the story’s steps in, and asks author eventually so that the to stop reading the reader tormented existence can character’s complicit is now end. Te reader which the terrors in propagating which makes haunt this character, which contrib feel guilty, the reader emotional impact. utes to the story’s Tese moments, while metafctional devices which disrupt Gardner’s still call into ques fctional dream, can be responsible a reader tion how of another per for the well-being “author’s presence.” While the text presence.” “author’s is certainly of a a playful exploration the storymetafctional device, itself begins with quite sad. It is actually only to (referred character’s the main as “G”) exhortation wants that he not good yarn… be in a rousing “to preco some piece of avant-garde passion and bra ciousness. I want I can plot, heroes vura action in my In etc. I can love” heroines admire, he is in a story which is actuality, be found in a To not at all like that. story more which is actually much mundane than the life story that one was looking for is a hugely disap predicament pointing notion. G’s fction tends to be also speaks how and than real-life, interesting more not an accurate portrayal thereby of life at all, and any attempts to Quix confate the two (as is Don ------Barth’s “Life-Story,” from his from “Life-Story,” Barth’s A prime example of this A prime example house, is a worthy example of the ance” is then in an interesting posi is then in an interesting ance” tion, in that the author appearing is author, the of version projected a still au Te real not the actual author. to in order thor uses this projection meaning by contribute to the work’s further manipulating the transaction of storytelling. metafctional short ground-breaking, story collection Lost in the Fun nd little joy in the book. What in the book. will fnd little joy on fcally capitalizes speci Fire Pale distance perceived is the reader’s the author and the narrator. between that the narra will realize Any reader not the same, tor and the author are and one can then conclude that the in author may try to sneak ideas (or, plots) past the case, entire Fire’s Pale in Fiction narrator and to the reader. which the author makes an “appear Kinbote is incredibly wrong about wrong Kinbote is incredibly meaning, and so the story the poem’s does not become an analysis of a fctional poem, but rather a charac unreliable ter study of a narcissistic, energy Fire’s of Pale Much narrator. conclusions drawn by comes from of juxta a series through the reader deployed, positions that Nabokov who is not actively but a reader making conclusions about Kinbote e Transaction in Action Transaction Te Vladimir Nabo transaction is in struc is Te novel Fire. Pale kov’s parts: an in three uniquely, tured Charles Kinbote, a by introduction Shade, John his neighbor, poem by commentary on the and Kinbote’s that quickly learns poem. Te reader representation of reality that fur of reality representation fc Meta meaning.” and nishes order merely not then seek to tion does fctional of the work’s take advantage this acknowledge but rather nature, it. transaction and exploit ------Of course, this hypothesis Of suspend his disbelief in the reality of suspend his disbelief in the reality the story and there being recounted, giving him a him by upon [reward] “transaction of storytelling,” which is of storytelling,” “transaction willingly to reader to persuade “the cess which occurs between reader reader cess which occurs between of it. and writer and take advantage as the to this exchange refers Rubin as someone who had not read the as someone who had not read metafctional A strong earlier novel. pro the creative must realize work Adventures of Tom Sawyer might Sawyer Tom of Adventures as much arrival Tom’s not object to meaning and the level of intrusive meaning and the level in authorial presence. ness involved Te who read example, a reader For to the text by bringing an indi to the text by vidual set of ideas, sympathies, and altering its life experiences, thereby above mere perceptions of what is of what is perceptions mere above contributes Each reader written.” is ample evidence of the degree to is ample evidence of the degree which literary texts transform read that is far process ing into a creative that “the fact that completely difer that “the fected a can be diferently ent readers of a particular text the ‘reality’ by demands the reader’s buy-in in order buy-in in order demands the reader’s to become presence for the author’s writes Iser Wolfgang a contribution. ment is subjective, but metafction ment is subjective, is in a difcult spot in that it often is dubious in its subjectivity. What, is dubious in its subjectivity. or an after all, qualifes a “intrusion” All judg contribution”? “organic is simply present as another organic as another organic is simply present element of the text. question, functions well when the when the well question, functions intrude,author does not actually but ction in which the esis: that metafction in which the or the fc is felt, presence author’s of the text is called into tional nature it will not detract from the storytell detract from it will not at can then arrive We ing process. preliminary hypoth the following more honest, heighten the action, or heighten the action, honest, more then contribution, make a thematic can actually contribute to the story’s the story’s contribute to can actually for truth,search the story make 65 Humanities Humanities 66 ------Under Gass’ defnition, Gass’ Under ction, then, takes fction, then, takes Meta metafctional elements of the story (i.e. the components which can only under virtuefunction by of readerly standing of the feld), assume rather in have liberally what the readers their literary too clois arsenal, or are to make signifcant commen tered but those, like some of the works of but those, like some of the works O’Brien, Flann and Borges, Barth, for example, in which the forms of fction serve as the material upon which further forms can be imposed. many of the so-called anti Indeed, metafctions. really are novels metafction has an obligation to use its commentary on fctional forms in ways which bring meaning to the Barth’s text. Tis defnition follows implication that individual works part of a global feld are of literature which is constantly changing and expanding, and metafction can call forms. Just attention to these various language should, as any fgurative this interaction with the feld must serve some purpose for the piece as the however, a whole. Sometimes, to channeling post-modern cynicism post-modern to channeling metafction Sadly, into innovation. a few judged by as a feld is often relation do not use the pieces which to and author reader ships between impact as the same thematic create and many critics claim “Life-Story,” the connec that metafction severed aesthetics and mimesis. tion between awareness for granted this readerly of the feld of fction and uses this to make its order understanding in Tis defnition is thematic points. still in that these works cautionary, for the must not experiment merely efect of to the referring sake of it. In which speak to the artworks form that he [does writes of fction, Gass predict not] mean those drearily able pieces about writers who are writing, writing about what they are ------More simply, “replenishment” refers refers “replenishment” simply, More called postmodernist fction; what I hope might also be thought of one of replenishment. day as a literature of is the process Te replenishment the transaction of sto recognizing rytelling and writer, reader between as the transaction between as well to and the feld of literature, reader new forms of writing which create mimetic as its as psychologically are ancestors. modern and premodern at least fction, is kaput; that it has is that there all been done already; nothing left for contemporary writ our and travesty ers but to parody in our exhausted predecessors great medium — exactly what our critics as postmodernism. Tat is deplore not what I meant at all... [Writ not the next-best creating] ers are thing after modernism, but the best now next thing: what is gropingly motivation, and a resolution. Many Many and a resolution. motivation, that contend post-modern novels some expectations are these readerly can begin to and we what narrow, do away with some of them. Barth spoke of this saturation in his 1967 of Exhaus essay “Te Literature of Replen “Te Literature In tion.” he clarifed his position, ishment,” many people... writing that a great mistook me to mean that literature, novelist now better understands his better understands his now novelist to the he calls attention medium,” turn element of the post-modern have and readers in which writers that the form of the tacitly agreed When you is well-understood. novel you at a bookstore, pick up a novel getting: a made- what you’re know up story is a confict, in which there characters with competing needs and liam Gass wrote that, as a result that, as a result wrote liam Gass to use able are novelists of history, in order of form experimentation commentaryto make art on the of making commentaryfction, thereby writing that “the In on humanity. ------In the essay in which he In Tis defnition is rather lim Fiction Wil coined the term metafction, Fiction About the Field of the Field About Fiction is clear that metafction must not be as fction which takes defned merely of the transaction. advantage ction, fantasy, etc. under the ence fction, fantasy, of metafction. Te term umbrella and so it would be overgeneralized, that the story is fctional, it would sci be ridiculous to classify all satire, might panic because of an impend While these works ing alien invasion. knowing do depend on the reader writer is not exploited. Similarly, if a writer is not exploited. Similarly, a science-fction to read were reader story they and think that it was real, ective if inefective is completely Te work and reader the transaction between in such a no-win scenario; the reader in such a no-win scenario; the reader laughs at the silliness of the situation it is not real. that because she knows him. Te ofcer defending him was the reader Lieutenant Scheisskopf,” man is a real because does not weep was one of the judges… Lieutenant was one of the judges… Lieutenant Scheisskopf was also the prosecutor. Clevinger had an ofcer defending reader reads about Clevinger’s trial, about Clevinger’s reads reader in which “Lieutenant Scheisskopf for Yossarian for stumbling into a for stumbling Yossarian for an unreasonable with such squadron supervisory when the staf. Instead, reader. A reader who pretends that a who pretends A reader reader. like Catch-22 is a completely novel account will only feel sympathy real ction, as it takes advantage of metafction, as it takes advantage author and the transaction between it, one it is. Under broad ited in how to be of satire work could consider a plished by way of the reader’s under of the reader’s way plished by between standing of the relationship and character. author, reader, that “author’s” presence constructs presence that “author’s” is accom meaning, which thematic fts our that “Life-Story” it is clear metafction, in defnition of current - - - - - First aired in 2009, Com aired First ectiveness of readerly of readerly Te efectiveness “Community” and Readerly and Readerly “Community” with Fiction Familiarity to heavily on references munity relies and movies, other television shows humor relies and much of the show’s common recognition on the reader’s participation the then depends on with fction involvement reader’s as positions the genre Gass If itself. one which comments on the feld of fction and its state of afairs, then a in this sub who is interested reader ject will fnd metafction like “Life- someone who But interesting. Story” is unfamiliar with literary trends who picks up a copy of Lost in the because at the bookstore Funhouse table they saw it on the “Classics” might not or they liked the cover want kind of avant-garde know even is in question. Con precociousness knowl sidering this idea of readerly edge of the feld can be clarifed by examining metafctional television, Community. such as NBC’s narrative device, while also draw device, while also narrative Let form. to its own ing attention be to desire author’s to the us return not some good yarn… “in a rousing precociousness” avant-garde piece of subject of a story. if he is in fact the rst may elicit a Tis sentence at f the reader, from sympathetic chuckle is in that the protagonist who knows storyexactly the kind of he claims the reader to dislike. However, in mind who keeps this sentiment the storythroughout the end will at literature that avant-garde realize a a hero can involve like “Life-Story” all of the but also can admire, reader power emotional and psychological the this moment, as any epic. In makes comments both on its novel to referring by both fctional nature to other and referring itself directly pieces of fction. ------Tis quality of fction which the latter, using storytelling using as its the latter, should not impede the reading. But But should not impede the reading. to limit the wide berth we in order we the term “presence,” given have must consider it as authorial interest fction in the storytelling act. Meta to other fction has which refers taught us that fction can make com mentary on the art of storytelling, refer which can either be done by refer feld or by encing this broad performs “Life-Story” encing itself. with other should use its relationship kind of emo some fction to create works tional or human truth, is how disqualifed from like Catch-22 are the category of metafction. Recall sought to classify this litera that we as fction of authorial presence ture in which it was necessary that read of the transaction ers become aware of fction, but that this awareness now if you fuck around with recur with fuck around if you now accord problem, Westward’s sion.” to be that its seems Wallace, ing to too self- is in fact fexiveness self-re While metafction should fective. re position itself within the actively Westward existing feld of fction, does this at the expense of the psy bluntly, more chological mimesis (or, storytelling)efective that readers expect. exist on their own. Combine this exist on their own. self-ashamed (versus Westward’s with have and you self-conscious) nature, using which is apologetic of a novel does not use to a device which it seen it have we the full capacity that Te story’s used, like in “Life-Story.” to a somewhat according value, real the kind is to “[show] Wallace, older fall into loops you of pretentious aforementioned self-professed post self-professed aforementioned lends this connection modernist–but that wrote Toon text. little to the to surpass indeed fails “Te novella in that fexivity,” self-re post-modern seem to the metafctional elements ------is speaks to one of West Tis speaks to one of David Foster Wallace’s Wallace’s Foster David ese two ideas are tied together Tese two ideas are loosely in that one of the characters the is with whom the narrator reacts the characters in the world, and the strugglection. with metaf narrator’s ed story together. keeping one unifed story together. two seems to have Te novella main operations: the story about migraine.” migraine.” struggles, which is overall ward’s tion that had come before it. It was a it. It tion that had come before a permanent Te stuf’s show. horror metafction the same way metafc tion had tried to expose the illusions fc of the pseudo-unmediated realist Wallace spoke to this point in an in Wallace trapped saying that he “got terview, just trying to expose the illusions of hesitance to ft within the paradigm established. of metafction that Gass because isn’t complex enough to because isn’t teach us anything new–it is difcult of to imagine this kind of statement analyze the aforementioned taboo the aforementioned analyze fed as post-mod classi against work it is not interesting ern. Essentially, it’s NOT,” which is clearly a lie. NOT,” it’s so with the lie is that it’s Te trouble a lie that it does little to obviously “As mentioned before–and if this before–and mentioned “As a piece of metafction, which were to be ashamed of–something the Not fully escapes. itself never novella our narrator writes long thereafter, vention it’s seen as pompous and seen as it’s vention then, implies Westward, dumb.” is something post-modern literature modernist. No matter where you you matter where modernist. No con Tis. By Do Don’t you are-, it falls in the literary spectrum in D.L., “actually that one character, a post- calling herself around went cant energy discuss fcant energy spends signi fction. It ing the feld of meta exactly where seems to understand ctional novella Westward the Westward metafctional novella Way its Takes Empire Course of tary outside of fction. on the world 67 Humanities Humanities 68 ------Westward the Course of Em Westward logical mimesis as a story; it is more in fctional of a term paper on Barth as the form. Tis moment, as well Quix Don of Grossman’s presence ote footnote, opens up inquiry as to knowledge much of a reader’s how a text, and ought to be assumed by Westward, which inspired critics to inspired which Westward, be consider whether the relationship is “agonis and Barth Wallace tween is only tic rather than antagonistic,” who care to those readers interesting of not knowledgeable about and are metafctional work but only Barth, encourages a paradigm in general. It in which a text is only for people whole feld, in the interested who are and such a paradigm will squeeze readership, metafction into a narrow those who are by incomprehensible Since read. good a for looking simply has little to it outside of Westward this literary confict, an uninterested is not Barth will be alienated. John as culturally pervasive Goodfellas as or eighteenth-century writing. Even who is aware like Harris, for a reader Westward of Lost in the Funhouse, much psycho still does not provide Limitations of Form about of Form Limitations Form focuses on a very Way its Takes pire feld of fction with which narrow Legend unfamiliar. are many readers in the margins of arily sketched out in the Fun copy of Lost Wallace’s Ambrose, features Westward house, stories from of three the protagonist collection, as a character. Barth’s While the debate rages as to the and purposes of Ambrose’s nature that inclusion, it is well-established e very T Barth. represents Ambrose existence of this debate, though, of nature fes the cloistered veri in presence Barth’s story. Wallace’s invalidated if the referent text did text did if the referent invalidated not exist. ------Of course, not all literature course, not all literature Of Community’s reference- Community’s the text’s main readings would be main readings the text’s broad, complex ideas or emotions broad, not image,” in one quick, powerful devices which seek to situate a text this within literary context. Usually, metafction of allusion, like Mason or Com Quixote, Don & Dixon, heavily on the feld of relies munity, as part of its over-arching literature to qualify an al order meaning. In lusion as a metafctional allusion, a may consider whether one of reader maker. In this sense, work which is this sense, work In maker. etc., is be it flm, literature, “meta,” because it reality, of most illustrative stronghold chooses to embrace art’s on everyday life. which contains allusions can be classifed as metafction; this would be another useless, overgeneralized the most part, “al statement. For used to summarize lusions are… organized crime syndicate control organized ling the supply of the school cafete Even chicken fngers.” beloved ria’s not seen Goodfellas, has if a viewer of ma the trope they can appreciate fa politics and its constant portrayal even in flm and television. Similarly, with solipsisti unfamiliar if they are flm, they meta fexive cally self-re the understand the concept from flm classic image of the pretentious tions about form and its place within tions about form society. in heavy metafction functions well flm because environment today’s in so entrenched and television are contemporary Alan Sepin culture. did a show wall writes that “the note-perfect homage to [Goodfellas] became an in which the study group movie and calls it “the worst piece worst “the and calls it movie entire seen in my ever have of crap I self-indulgent, adolescent a life… it’s derides Community Here, mess.” than metafction, rather solipsistic to conversa that which contributes ------lmmakers.” After very appealing to flmmakers.” egotistical, flm calls him “an Shirley watches his Abed making lunatic,” masterpiece.” Shirley states that she Shirley masterpiece.” and that it “sounds like it, doesn’t with his camera… And the movie’s with his camera… And the movie’s called ABED. All caps. Filmmak flm. A metaflm. My ing beyond of a flmmaker exploring the life of flm, Jesus in the flmmaker’s Jesus… is a flmmaker trying to fnd God death,” and that he “wants to tell the to tell and that he “wants death,” the perspective from story of Jesus lm that will be relevant to mod a flm that will be relevant that recognizes Abed ern culture, “has been told to the story of Jesus the post-postmodern world” when when the post-postmodern world” his Christian friend, by approached wants him to create Shirley Shirley. references throughout the series, the series, throughout references for movie attempts to make a “Jesus sode “Messianic Myths and Ancient Myths sode “Messianic a character respon Abed, Peoples,” sible for many of the popular culture contemporary has become, culture metafctional but also calls its own the epi tendencies into question. In media practice,” and Community media practice,” positions itself within this paradigm, reference-heavy demonstrating how found its way into our everything- comment-as-content is-a-remix the notion of a culture oversaturated oversaturated the notion of a culture of postmodern “Much with culture. “has to Rugnetta, according ism,” ght which is an homage fght which is an homage pillow series Te Civil Burns to the Ken also challenges Community War), seems to make these references for references seems to make these (e.g. an all-school the sake of humor heist, the feel-good movie, the docu movie, heist, the feel-good etc. the morning show,” mentary, that Community While it may seem send-ups or pastiches of well-worn or pastiches of well-worn send-ups the love forms: the western, narrative f, the the action flm, the sci- story, Rugnetta states that “Many if not that “Many states Rugnetta are of Community most episodes tropes. In an episode of the PBS an episode In tropes. Channel, Mike Idea series YouTube ------It is then close to futile to say It Each of the works explored explored Each of the works above, we can classify metafction as we above, fction which makes commentary on forms of fction (or itself) in order to not only comment on forms of fction, but also to impact the work Whether a and expand its meaning. will fnd the refer particular reader with the story’s own metafctional own with the story’s tendencies in mind, which invariably fctional calls attention to the story’s never if the narrator even So nature. is fc steps in and says “Tis work does in “Life-Story,” as Barth tional,” the story may still call attention to the such a case, itself as fctional. In reader the is how critical juncture positions himself within the text. too self- are Westward that texts like metafctionally serving (or rather, useful. Indi specifc) to be broadly might fnd like Harris vidual readers in them, but other signifcant joy because may pan the work readers of their unfamiliarity with Barth, or because they feel that the novel’s makes it unenjoyable. focus on Barth on what has been discussed Based nal work, Finnegans Finnegans fnal work, that “if Joyce’s that survives its century, Wake, partwill in large because of the be English the book afords amusement often Experimentation professors.” indecipherability, of degree a requires and since metafction seems to invite experimenta forms of such various seems to be tion, this impenetrability to stay. here has consciously commented here on form on form, and commenting that conceding to readers requires is fctional. Discussing the work of fc and genres devices narrative tion will inevitably cause the reader they the work to contemplate how the plays into reading currently are paradigms being discussed. Someone would likely ana Westward reading its commentarylyze on metafction - - - - - erent readers readers diferent Evidently, ction; Rubin writes experimental fction; Rubin one reader may not be overly self- may not be overly one reader between Tastes to another. fexive re and some vary, individual readers and will fnd metafction interesting others will not, just as some enjoy science-fction and others do not. fction, then, is not responsible Meta being in on the joke, but for readers it does run the risk of alienating a large chunk of its potential reader for Tis is not a new problem ship. ction as Genre Fiction fction as Genre Meta texts diferently. will classify diferent to fexive self-re which is overly One ing both “Lost in the Funhouse” and ing both “Lost in the Funhouse” Anthology Norton in her Westward fction or Meta Twentieth-Century of something similar will fnd the rela the two delightful, tionship between has. as Harris ectation,” (not unlike a certain afectation,” & Dixon), in Mason Pynchon’s Cervanteswhereas “handles with of his time.” Spanish ease the current Te purpose of this comparison is diferently is read Quixote that Don Cervantes’ by and modern readers by contemporaries, who apply diferent of cultural ideals and understandings a reader history to the texts. Perhaps encounter today, forty from years of the text. In Borges’ tale, a man tale, Borges’ of the text. In write seeks to Menard named Pierre by but actually reproduce (not copy, full text of ingenuity) the his own ctional nar Te f novel. Cervantes’ to the diferences rator-critic attests contain the texts (which between including the com identical words), Menard’s calls mand of language. He and “[sufering] from style “archaic,” reader’s proclivities are a critical part are proclivities reader’s of the storytelling Jorge process. Menard, story “Pierre Borges’ Luis focuses on of the Quixote” Author how and of the reader the position that position afects the meaning ------For some, this narrowness some, this narrowness For Even as such, metafction Even about him. Westward, like other Westward, about him. fction, is not look pieces of genre Te ing to appeal to every reader. who is interested in John Barth and Barth in John who is interested novellas perfectly satisfed to read is a story Westward is not a crisis. written for someone like Harris, of delivering meaningful narrative meaningful narrative of delivering which is emotionally or psychologi cally relevant. tional reader may not understand, tional reader goal on literature’s may fail to deliver ect.” Barth seems seems Barth ning the artistic efect.” Westward, to worry like that works which only focus on what the tradi most traditional notion of the artist: the Aristotelian conscious agent who with technique and cun achieves art the of “[eliminating] not only traditional audience… but also the e Literature of Exhaustion,” re of Exhaustion,” “Te Literature in describ fers to this cloisteredness ing the tendency of post-modern exive fexive fction continues to be self-re will continue to stay then it only, in his 1967 essay isolated. Barth, the reader’s place within that culture. place within that culture. the reader’s is a fction, however, Post-modern and if that small part of that culture, intertwined, be, as they appear to then Community is able to capitalize sion, and it can expect readers to be sion, and it can expect readers culture If familiar with that diversity. inseparably and day-to-day life are which it comments. Community is which it comments. it comments on successful because lm and televi of f so many genres eld. Its commentaries will be one feld. Its on body of work only as deep as the to one which is heavily indebted within that feld will still stay limited or a reader. Unfortunately, this line this line Unfortunately, or a reader. of inquiry is somewhat outside the purview of this paper. the context of John Barth or chival Barth of John the context on the text is a burden ric romance whether the average reader’s ability ability reader’s the average whether within position a text to accurately 69 Humanities Humanities 70 - - - - e act of rendering reality into reality Te act of rendering and Phelan, Scholes, James Robert in the Teller Te Louis D. Rubin, 18. Ibid, is included in the novel’s Tom e kind of work which values which values Te kind of work 37. Hutcheon, Te Art of Fiction: Gardner, John 5. Hutcheon, Blackwell 231 Blackwell Quixote, de Cervantes,Don Miguel 65. Ibid, trans. Edith Grossman (New York: York: (New Grossman trans. Edith 2003), 67. Ecco, (Waterloo: Wilfrid Laurier Univer Laurier Wilfrid (Waterloo: 4. 1980), sity Press, between Huck and Jim is the focal and Jim Huck between is discuss Rubin point of the novel ing, and he argues that inserting is disruptive of the chemistry of Tom and Jim that Huck the relationship develop. 14 text. 15 of Nar e Nature T Kellogg, Robert University Oxford (Oxford: rative 2006), 13. Press, 16 Washing of University (Seattle: Tale ton, 1967), 11. 17 18 beginning, but does not go on Huck readers While adventure. and Jim’s because Sawyer Tom about know was Sawyer Tom of Te Adventures of Te Adventures before released the relationship Finn, Huckleberry 7 8 9 10 all else above verisimilitude 11 12 Writers Young for on Craft Notes 1984), A. Knopf, Alfred York: (New 87. 13 ------ction which fction which defned as Broadly Like Linda Hutcheon, who calls Like Linda Hutcheon, First coined by William Gass in Gass William coined by First “Extraordinary Blackwell, Mark Tis is a catch-all term for non- e genre in which writers attempt Te genre 1 ctional Paradox fctional Paradox Te Meta ratives: fction and It-Nar Meta Narrators: in Te Cambridge History ratives,” L. ed. Robert Novel, of the English (Cam Caserio and Clement Hawes Press, bridge: Cambridge University 2012), 230. frst only the “not Quixote Don but also the frst self- novel ‘realistic’ Nar in Narcissistic one” fective re must begin to construct the kinds of expectations on which genre readerly fction thrives. and the Form his essay “Philosophy published in Fiction of Fiction,” York: of Life, (New and the Figures A. Knopf)Alfred 1970, 25. Kill a Mockingbird qualify as real Kill a Mockingbird ism, which is often (problematically) will as we seen as the default genre, discuss further on. fc of speci fction. Readers realist expect certain storygenres elements; of fantasy expects wizards a reader clas we but not aliens. If and elves, fction, we sify metafction as genre referred to as “breaking the fourth to as “breaking referred make consistent or a work wall”), to the feld of literature. reference most commonly-read the Perhaps Von ction is Kurt example of metaf Slaughterhouse-Five. negut Jr.’s life in text. to demonstrate real To and Eyre such as Jane Novels draws attention to its own fctional to its own draws attention a narrator by Tis is achieved nature. and audience directly the addressing text itself (often discussing to the 6 4 5 3 2 Footnotes ------e reader’s placement Te reader’s their due consideration. fction may continue to push aca genres all non-realist demics to give new Barth novel) is one of the most new novel) Barth serious faws in literary today, studies and classifying metafction as genre most popular among readers (as not most popular among readers clamoring to the many people are to get their hands on the bookstore ary quality of the likes of Dune. the kind of fction which is Ignoring to be appreciated; only in the past to be appreciated; scholars or thirty have twenty years begun to pay attention to the liter begin to be appreciated more seri more begin to be appreciated circles, academic today’s In ously. fction is still struggling non-realist than the constraints of realism, then than the constraints of realism, fction can genre of perhaps the rest and people like them. If we begin to we and people like them. If judge metafction based on the pref it, rather of those who enjoy erences them apprehensive to include meta to them apprehensive though fction within its ranks, even fction written for them it is genre like Harris. Te new at hand is issue like Harris. fction is often held in low that genre academics, likely making esteem by tion is designed for people who think that metafction is interesting, ction from realism and realism ating metafction from branding it as literary fction, genre can conclude that metafc then we pirates, or aliens are interesting. Te interesting. are pirates, or aliens limited to that audience is often succeeded in liber have we If group. ction because they are the are fction because they genre sort who thinks wizards, of person of us to the consideration returns enjoy readers fction. Many genre ction will be focused fction will fction, meta while still mimesis on psychological keeping true to form. reader’s prerogative. If we allow this this allow we If prerogative. reader’s meta the criticism of ruleto govern ences at hand or the allusions to the hand or the allusions ences at is that one ction interesting feld of f ------Accessed De Accessed e episode in question is “Con is e episodequestion in T of the spirit of awareness Tis Barth, “Life-Story,” 118 Barth, “Life-Story,” Commu “Is Digital Studios, PBS “Pil is e episode in question T PBS Myths “Messianic Community, 43 44 39 40 41 42 38 fx. 15, 2014. http://www.hit cember com/blogs/whats-alan-watching/posts/ for-community-how-much-meta-is- too-much. 27, 1997 San Francisco Chronicle Chronicle Francisco 27, 1997 San suggestion with review “rich as ed the minu with f idea, stu and world.” time and another tiae of any read never has if a reader Even will she prose, eighteenth-century rst frst Poultry,” American temporary 22, 2010, discussed in April aired ‘Community,’ “For Alan, Sepinwall, Much?” Too Is Meta Much How 5, 2010. May HitFix: perspective ap in broad the work omas T well. as literature to plies (1997) & Dixon Mason Pynchon’s in eighteenth-century written is (e.g. spelling and grammar English Case than take a harder “‘twould of struggle to Tears not with Mason an (202)), which creates Sentiment” which Paul environment immersive April in his to referred Skenazy nity A Postmodern Masterpiece?” Masterpiece?” A Postmodern nity 3, April YouTube. Channel. Idea 2013. April aired frst Blankets,” and lows sea third the series’ 5, 2012. When a docu DVD, on released was son the of the making mentary about episode (so a a documentaryabout as documentary)fake included was feature. a bonus October 21, Peoples,” Ancient and 2010. ------Gass 25 Gass Scholes et al. draw a distinction a distinction draw et al. Scholes Staes, Toon, “‘Only Artists Can “‘Only Toon, Staes, Interview. Wallace, Ibid, 264. Ibid, interview Wallace, Foster David David Foster Wallace, Westward Westward Wallace, Foster David 37 35 36 33 34 31 32

between teller and tale and specify talebetween and and teller art narrative defnition, “by that a story-teller” a story and requires exists, this distinction (240). Since the “storytell that conclude can we unifes the story what is act” ing relies Our interest story-teller. and between these in the relationship the reader. as well as actors, web/20071017042632/http://www. centerforbookculture.org/inter views/interview_wallace.html. Artists And fa’s Ka fgure,’ Trans In Of Redemption e Possibility T Wal Foster Of David e Novellas T 469 Litterarum. Orbis lace,” Inter ”An Larryery. f by McCa Wallace.” Foster view David with Fiction Review Contemporary of 1993), 127-150. 13.2 (Summer the Dalkey by online Reproduced accessed December Press, Archive 12, 2014, http://web.archive.org/ the Course of Empire Takes its Way, Way, its Takes Empire the Course of (W.W. Hair, Curious with in Girl 1989), 234, em York, New Norton, original. phasis ture. Published in Triquarterly 26: Triquarterly in Published ture. 383-417. of our traditional Western concept Western of our traditional a concept which of art and literature as our most culture’ defned ‘high repositoryvaluable moral and of and in the advent wisdom” spiritual litera of postmodern proliferation -

- - - - -

e Myth of his 1973 essay “Te Myth In Gass 24 Gass of Re “Te Literature Barth, John Joseph Heller, Catch-22, (New Catch-22, (New Heller, Joseph the term have already we Besides, Ibid; 128. Ibid; My point here is not the analysis point here My John Barth, “Life-Story” in Lost in “Life-Story” Barth, John Rubin 7. Rubin “”Combina Ward, Corn, Peggy Ibid, 19. Ibid, Reader: Te Implied Iser, Wolfgang 30 of critics Leslie Fielder, Susan Son Susan of critics Leslie Fielder, Poirier, Richard Steiner, tag, George death as seeing “the Hassan and Ihab the Postmodern Breakthrough,” Breakthrough,” the Postmodern the work f summarizes Gra George 1984), 205-206, emphasis original. e Friday Book, in Te Friday plenishment,” Sons, Putnam’s G.P. York: (New 28 29 ction” which takes care of it care which takes fction” “genre nicely. York: Simon and Schuster: 2004), 75 2004), Schuster: and Simon York: 27 26 ments are worthwhile. ments are 25 awareness clearly presents thematic clearly presents awareness and content which can be analyzed, so it seems that the metafctional ele 24 self- itself; rather that “Life-Story”’s the Funhouse, (New York: Double York: (New the Funhouse, 1968), 119. Inc. day & Company, December 16, 2014. JSTOR. December 23 Story within a Story in “Pale Fire,”” Fire,”” in “Pale within a Story Story Technique of Narrative Te Journal 1 (1987): 83-90. Accessed 17, no. 22 of the Te Uses tional Delight”: 21 Fiction from Bunyan to Beckett to Beckett Bunyan from Fiction Univer Hopkins Johns (Baltimore: 1978), 279 sity Press, 20 Prose in of Communication Patterns 19 71 Humanities Humanities 72 ------

Tale. Seattle: University of Washing of University Seattle: Tale. ton, 1967. 11. and Phelan, James Scholes, Robert, of Nar Te Nature Kellogg. Robert University Oxford Oxford: rative. 2006. Press, York: Simon and Schuster, 2004. and Schuster, Simon York: Nar Linda. Narcisstic Hutcheon, fctional Paradox. Te Meta ratives: Laurier Wilfrid Waterloo: 1980. Press, University Reader: Te Implied Wolfgang. Iser, of Communication in Prose Patterns to Beckett. Bunyan from Fiction University Hopkins Johns Baltimore: 1978. Press, Community “Is Studios, PBS Digital Idea Masterpiece?” A Postmodern 3, 2013. April YouTube. Channel. & Dixon. Tomas. Mason Pynchon, and Com Holt Henry York: New 1997. pany, in the Teller Louis D. Te Rubin, Corn, Peggy Ward. “”Combina Ward. Corn, Peggy the of e Uses T tional Delight”: Fire”” in “Pale a Story within Story Technique of Narrative Te Journal 83-90. Accessed 1 (1987): 17, no. JSTOR. 16, 2014. December Te Art of Fiction: John. Gardner, Writers. Young for on Craft Notes 1984. A. Knopf, Alfred York: New and the “Philosophy William. Gass, and Fiction In of Fiction.” Form York: of Life, 3-26. New the Figures 1970. A. Knopf, Alfred Charles B. “Te Anxiety of Harris, Barth/David fuence: Te John In Cri Connection.” Wallace Foster in Contemporary Fic tique: Studies 2 (2014): 103-26. tion 55, no. New Catch-22. Joseph. Heller, - - - - -

Borges 43 145 Rubin Community. “Messianic Myths and Myths “Messianic Community. 21, 2010. October Ancient Peoples.” Other Writings. New York: Modern Modern York: New Writings. Other 1983. Library, Quix Don De. Cervantes, Miguel Grossman. Edith by Translated ote. 2003. Ecco, York: New Warfare.” “Modern Community. 6, 2010. May Bloom, Harold. A Map of Misread A Map Harold. Bloom, University Oxford York: ing. New 1975. Press, C. Te Rhetoric of Waynce Booth, of Chicago: Te University Fiction. Chicago, 1961, 159. Men “Pierre Jorge. Borges, Luis In of the Quixote.” Author ard, and Stories Selected Labyrinths: ction. G.P. fction. G.P. Non Essays and Other 1984. Sons, Putnam’s “Extraordinary Mark. Blackwell, fction and It-Narra Meta Narrators: Te Cambridge In tives.” edited Novel, History of the English L. Caserio and Clement Robert by 230-245. Cambridge: Cam Hawes, 2012. Press, bridge University Barth, John. “Life-Story” in Lost in “Life-Story” John. Barth, Doubleday York: New the Funhouse. 1968. Inc. & Company, of Re e Literature “T John Barth, Book: in Te Friday plenishment” fction. G.P. Non Essays and Other 1984. Sons, Putnam’s of “Te Literature John Barth, Book: in Te Friday Exhaustion” 51 52 References ------Singletary, Ann, ”Allusion,” Glos ”Allusion,” Ann, Singletary, e Literature of Ex of Barth, “John e Literature T e curious reader, however, however, reader, e curious T Harris 103 Harris Har by reinforced is notion Tis In a footnote in which he jux in which he a footnote In 45 50 49 48 47 46

recognize the grammar’s role in im role the grammar’s recognize the world. further her into mersing York: G.P. Putnam’s Sons, 1984), 65, 1984), Sons, Putnam’s G.P. York: original. emphasis e Friday Book New e Friday in T haustion,” ings (New York: Oxford University University Oxford York: (New ings 1975), 3. Press, decide to start with Bloom, who Bloom, startdecide with to that Misreading, of in A Map writes actually misread are all readings uninformed reading of a text, can can a text, of reading uninformed still might be One a valid reading. may want to consider, within the within consider, to want may criti reader-response of context an or whethercism, a misreading, literary conversation at hand. hand. at literary conversation nd it somewhat compelling compelling somewhat it fnd can the with familiarity his because of Barth’s work, calling Westward “un calling Westward work, Barth’s Westward (122). While derrated” Harris out, points Toon weak,is as ris, who is clearly interested in interested ris, clearly who is (2014), 122. Connection,” Critique: Studies in Studies Critique: Connection,” 2 55, no. Fiction Contemporary brose is “clearly based on Barth.” based Barth.” on “clearly is brose e T uence: f “ In of e Anxiety T Wallace Barth/David Foster John Westward and Barth’s work with with work Barth’s and Westward Max’s, D.T. and Connie Luther’s Am that states Harris B. Charles taposes his own position on the on position taposes own his between the relationship of nature lam/general/glossary.htm. sary of Literary Terms. Accessed Accessed sary Literary Terms. of December 15, 2014. http://www2. uncp.edu/home/canada/work/al - - -

Accessed De Accessed http://www2.uncp.edu/

for-community-how-much-meta-is-too- much fx. 2014. http://www.hit cember 15, com/blogs/whats-alan-watching/posts/ Course of Empire Takes its Way, in Way, its Takes Course of Empire Hair. with Curious Girl 1989. York, New Norton, W.W. Orbis Litterarum.Orbis 459-480 the Westward Foster. David Wallace, Possibility Of Redemption In Te In Redemption Of Possibility Wallace.” Foster David Of Novellas Artists ““Only Can Toon. Staes, Artists And Te Kafka’s fgure”. Trans ber 15, 2014. Glossary Ann, ”Allusion,” Singletary, Decem Accessed Terms. of Literary HitFix. May 5, 2010. May HitFix. Sepinwall, Alan. “For ‘Community,’ ‘Community,’ “For Alan. Sepinwall, Much?” Too Is Meta Much How home/canada/work/allam/general/glos sary.htm. 73 Humanities