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The Self-Begetting Novel: Metafiction in the Twenty-First Century

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The Self-Begetting Novel: Metafiction in the Twenty-First Century The Self-Begetting Novel: Metafiction in the Twenty-First Century Steve Hollyman A thesis submitted in partial fulfilment for the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Department of English Manchester Metropolitan University 2 Author’s Note This thesis is made up of three parts: Part One: Esc&Ctrl (a novel) Part Two: Critical Exegesis Part Three: Three Facebook pages referenced in parts one and two. Esc&Ctrl may be described as a work of transmedia fiction, which is defined as ‘one story (or experience) told and delivered across multiple media platforms’.1 The protagonists, antagonist and author of the novel each had a personalised ‘page’ on Facebook, the world’s most popular social networking site, 2 which enabled them to ‘interact’ with real people. The purpose was to use social networking as a plot- development tool: to create a collaborative work of fiction which readers followed in real time, influencing the story as it evolved, and to write up the results in a traditional print text. The Facebook pages are, at the time of writing, still live on the internet and can be accessed at: www.facebook.com/escandctrl www.facebook.com/jadeejanes www.facebook.com/callmedavison Please note that in order for all the hyperlinks to work your computer must be connected to the internet. 1 ‘Transmedia Storytelling Around the World: Jan Libby’ <http://www.transmedia-storytelling-berlin.de/2012/01/transmedia-storytelling-around-the-world- jan-libby> [accessed 29 October 2012]. 2 Mark Zuckerberg, ‘One Billion People on Facebook’ <http://newsroom.fb.com/News/457/One-Billion-People-on-Facebook> [accessed 29 November 2012] 3 Abstract The thesis examines the potentialities offered by social networking websites for constructing original metafictional narratives. It comprises a novel, a critical exegesis, and three Facebook pages which are attributed to fictional characters and used as a plot-development tool. Readers ‘befriend’ the characters and place themselves within the fabric of the fictional narrative. The result is a collaborative storytelling experience which evolves in real time and forms the basis of the print novel Esc&Ctrl. The exegesis places the creative piece into a contemporary research context. In chapter one I provide an account of the evolution of metafiction and the self- begetting novel with reference to the works of William H. Gass, Steven Kellman and Patricia Waugh. I also account for the problem of authenticity in fiction, and use Paul Ricoeur’s Time and Narrative to demonstrate the ways in which the temporal spectrum of an online narrative differs from that of traditional print text. Chapter two argues that the evolution of the internet offers a new set of conditions that necessitate a radical overhaul of the ways in which postmodernity tends to be theorised, and according to which postmodern theories may be reconfigured. Referencing Jean-Francois Lyotard, I discuss the micronarratives of the internet and how these lead to the formation of an online ‘self’ which is necessarily different from a self located in the offline realm. Jean Baudrillard’s concept of the loss of the real is extrapolated in order to show that the internet, and particularly social networking sites, are representative of a simulated culture. The chapter ends with a definition of what I have called ‘metafictional virtuality’ and a summary of how it could be said to impact postmodern consciousness. Chapter three examines the new creative vistas opened up by hypertext, social networking and transmedia fiction for metafiction and the self-begetting novel. Referencing the works of Wayne C. Booth, Wolfgang Iser and Stanley Fish, I explore the role of the reader in attributing meaning to hypertext. I then examine the advantages and shortcomings of using social networking to tell stories, with specific reference to the critical work of Ruth Page and the practical example of the online counterpart to Esc&Ctrl . 4 Chapter four provides an account of the mechanics of setting up, maintaining and operating the Facebook pages I used in the project. It ends with a statistical analysis of reader-engagement throughout the eight days that the project was live. I conclude by evaluating the strengths and shortcomings of the social networking narrative and account for how its basic principles might be applied to newly-emerging technologies such as the soon-to-be-released Google Glass. 5 Contents Part One: Esc&Ctrl Foreword p. 8 Zero p. 16 One p. 23 Protagonist p. 28 Two p. 31 Prize p. 36 Three p. 41 Gap p. 48 Four p. 50 Five p. 54 Herald p. 60 Six p. 65 Quest p. 70 Seven p. 74 Eight p. 78 Nine p. 84 Guardian p. 90 Ten p. 93 Two For Sixty p. 97 Eleven p. 105 Twelve p. 110 Antagonist p. 119 Thirteen p. 124 Cleft p. 130 Fourteen p. 133 Fifteen p. 138 Realisation p. 143 Sixteen p. 151 Shadow p. 155 Seventeen p. 159 Eighteen p. 162 Ghost p. 166 Nineteen p. 168 Twenty p. 173 Trickster p. 177 Twenty-One p. 179 Twenty-Two p. 186 Shapeshifter p. 190 Twenty-Three p. 197 Part Two: Critical Exegesis Chapter One: The Problem of Realism p. 208 Chapter Two: A Defence of Metafictional Virtuality p. 231 Chapter Three: Social Networking and the Hypertext Novel p. 263 Chapter Four: Statistical Analysis p. 301 Conclusion p. 317 Appendix p. 327 Bibliography p. 338 Acknowledgements p. 346 6 Part One: Esc&Ctrl 7 Steve Hollyman’s esc&ctrl reassembled, w ith additional n ot es, byXXXXdavisonXXX by Ike xxx A. xx Mafar xxxx 8 Crimson red horrorbath, tickertape parade, print-dust, white-suit rustle, click click click. This Is A Crime Scene. Do Not Enter. 9 foreword. Many people, in the post-postmodern age, regard the novel as a redundant medium: a slow, clunky form better suited to the museum than the modern-day office or living-room bookshelf. And quite reasonably so: we live in an increasingly bite-sized culture – a culture in which social media replace face-to-face interactions, print text is rapidly vanishing in favour of its more fashionable (not to say more digestible) online cousin, and experience itself is mediated by the rhizomatic feedback-loop of reflexivity that is the world wide web. It’s hardly surprising, then, that in February 2013, when Raw Shark Press, a small independent publisher located in Manchester’s Northern Quarter, released their latest title, a short, experimental novel entitled VOID , the book failed to sell, the anonymous author vanished into obscurity, and, after limping on for several miserable months, the publishing house closed down. And so might the story have ended before it had truly begun (for, as Reader Response Critics cry in unison: what is a text without a reader?) were it not for one Professor Fatima Tonelci, Head of Development at the Manchester Centre for the Grammar of the Image, who, excited by this little-known tale’s exploration of transmedia storytelling and online narration, chose to resurrect the work, incorporating it into her ‘Approaches to Metafictional Narrative’ seminar delivered at the Manchester Writing School in March 2014. As the introduction to Tonelci’s seminar gained momentum, students pricked up their ears. They shook off 10 the torpor of the lecture theatre and listened. And then, in the days that followed, something strange began to happen. There was a buzz about campus. Discarded second-hand copies of the book quickly vanished from the virtual shopping baskets of eBay and Amazon.com, snatched up by eager students who had caught the bug. The anonymity of the work’s author helped shroud it in a mystery seldom seen in the present epoch of see-all, hear-all consumer culture: suddenly, it seemed, there was a market for the book. In September 2014, Transmission Print, based in North Wales, grabbed the opportunity to buy the rights from Raw Shark Press, who still retained mechanical copyright despite having shut up shop. They contacted Tonelci, inviting her to contribute to an annotated edition, but, being of the realist school-of-thought which dictates that in commenting upon a piece of literature one inextricably alters it, she delegated the responsibility to one of her colleagues. Hence, the task of providing the marginalia for the new edition of VOID fell into the lap of a Research Associate at the Manchester Writing School: one Ike A. Mafar, who had been kicking his heels on long-term sick leave and was eager for a new project. During the course of his research, Mafar made a fundamentally important discovery: the plot of the novel bore an uncanny resemblance to the interactions of a group of people on the world’s most popular social networking site, Facebook. Subsequently, questions arose concerning the work’s true author, or authors. Doubts crept in regarding its authenticity. And Mafar found himself at the centre of the frenzy: had he made the whole thing up? Mafar and Tonelci worked together on the manuscript, via email, annotating a few chapters at a 11 time. On the agreed date, Mafar sent Tonelci a printed copy of the second draft of revisions. But he presented more than this: he had added a new narrative strand to the novel proper, typewritten onto the reverse side of the pages he was annotating. He had, to all intents and purposes, placed himself as a character within its fabric. When read concurrently alongside Mafar’s copious annotations, VOID becomes something else altogether. It becomes, as a matter of fact, an entirely different story. It is that story that we have subsequently come to know as Esc&Ctrl . Let it not be understated that it is with deep regret Mafar is not himself providing this introduction to the new edition of the work he so painstakingly reassembled and researched.
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