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Chapter 1 What is metafiction and why are they saying such awful things about it? -- chapter 2 Literary self-consciousness: developments Modernism and post-modernism: the redefinition -- chapter 3 Literary evolution: the place of parody -- chapter 4 Are novelists liars? The ontological status of literary-fictional discourse -- chapter 5 Fictionality and context: from role-playing to language games -- chapter in the manner of Hitchcock, across a corridor at Watermouth University in The History Man. John Barth corresponds with his characters in Letters. He explains as J.B. his role along with the computer WESAC in producing the novel Giles Goat-Boy (1966) in the first few p. of the novel. B. S. Johnson foregrounds autobiographical facts, reminding the reader in Trawl (1966): I. always with I. one starts from. one and I share the same character (p. 9). Or, in See the Old Lady Decently, he breaks off a description in the story and informs the reader: I have just broken off to pacify my daughter. my father thinks she is the image of my mother, my daughter (p. 27). Steve Katz worries in The Exaggerations of Peter Prince (1968) among many other things about the fact that he is writing the novel under fluorescent light, and wonders how even this aspect of the contemporary technological world will affect its literary products. Alternatively, novelists may introduce friends or fellow writers into their work. Thus, irreverently, in Ronald Sukenick's 98.6 (1975) the hero decides to seduce a girl and her roommate: Besides the roommate is a girl who claims to be the lover of Richard Brautigan maybe she knows something. I mean here is a girl saturated with Richard Brautigan's sperm (p. 26). Federman, Sukenick, Katz and Doctorow make appearances in each others novels. Steve Katz, in fact, appeared in Ronald Sukenick's novel Up (1968) before his own first novel, The Exaggerations of Peter Prince, had been published (in which Sukenick, of course, in turn appears). Vladimir Nabokov playfully introduces himself into his novels very often through anagrams of variations on his name: Vivian Badlock, Vivian Bloodmark, Vivian Darkbloom, Adam von Librikov (VVN is a pun on the author's initials). Occasionally authors may wish to remind the reader of their powers of invention for fear that readers may assume fictional information to be disguised autobiography. Raymond Federman writes: -- chapter I have a feeling that if I go on giving specific details like these eventually -- chapter Notes -- chapter Bibliography -- chapter Further Reading -- chapter Index -- chapter 174 Metafiction -- chapter Index 175 -- chapter 176 Metafiction.
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