Hard-to-Google Lit. Crit. Queries...
Is there a general term for novels (or other fictions) that contain/mention themselves? I mean, the novel is called The Book of Glum, and it's about someone who turns out to be writing or reading a book called The Book of Glum, or we're at least given to know that this is a world where The Book of Glum already exists?
Also, is there decent existing discussion (in journals or elsewhere) of this phenomenon?
Also, is there decent existing discussion (in journals or elsewhere) of this phenomenon?
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And there's also less precise distinction between epistolary/diary/etc. fictions where what you read can theoretically be found but in practice won't be because the letters (or whatever) are just a formal literary device, and those where the writings and/or their composition are a significant part of the plot. Again, this can shift from the first to the second quite late on. (Diana Wynne Jones's Black Maria is one example.) I'm trying to remember how far into Pamela Mr B. discovers P's letters - or did I misremember his doing so entirely?
I think that Amis novel was Money, wasn't it? And the speaker is John Self (lest we miss the point).
I think that E. Nesbit has a fairly transparent self-portrait in The Treasure Seekers, but I don't recall that she's actually named. However, in a slightly different part of the forest, the children in her House of Arden get interested in time travel because they've been reading her Story of the Amulet, published the previous year.
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My interest is this: that it's vanishingly rare that a first person narrator can die (we assume she lives and are entitled to assume that), but not at all rare that you can have a concluding sentence such as this: "He made me promise I'd never tell a soul [the story just narrated], and that's a promise I intend to keep." Which may be true in the fictional world. So the ontology of the first person narrator is that if they're telling the story, they're alive in their world (or they couldn't tell it); but they're not necessarily telling it in their world. That's a strong convention, but not one that is necessary, so I am interested in the receptive psychology that makes it feel so strong, makes it seem so inviolable.
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There's also a negative image of this, for an example of which (simply because it's handy) I'll give you the opening to my 2006 book, The Lurkers:
There's no end of fun to be had with this stuff.
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I know of an example of it happening, and now that I think about it, the book's subtitle might be the name of a book she's writing. (It's been many years since I've read it, but it's something like that.) But I can't decide whether to name it here because it's (natch) the most enormous spoiler for the book…. Should I?
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Edward Eager's Seven-Day Magic is a book that supposedly creates itself as the children in it have their adventures, and winds up being the book that the reader is reading.
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(By the way, I've tried a few time to comment on posts of yours here on LJ, but every time I do so I get an error message. Any idea why?)
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