Advertisement

Drawing the Reader into the Narrative

  • Joanne Pettitt
Chapter

Abstract

In this chapter the author investigates the significance of the metafictional mode, which is used in a number of perpetrator narratives. Understanding metafiction to incorporate the text’s own self-awareness and the subsequent awareness of the reader as he or she responds to that text, the author argues that this technique necessitates the reader’s continual navigation between the ‘story world’ and the ‘real’ one. The texts thereby force the reader to continually renegotiate his or her relationship to the novel, and to the characters therein. By consequence, identification with the perpetrators of the Holocaust is continually disrupted, denying the possibility of straightforward empathetic responses and encoding a need for these literary encounters to remain reflective.

Keywords

Fairy Tale Direct Address Story World Imaginative Process Jewish Experience 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Bibliography

  1. Adorno, Theodor. 1997 (1967). ‘Cultural Criticism and Society’. In Prisms: Studies in Contemporary German Social Thought. London: MIT University Press, pp. 17–34.Google Scholar
  2. Barthes, Roland. 1967. The Death of the Author. http://www.tbook.constantvzw.org/wp-content/death_authorbarthes.pdf (last accessed 12.1.15).
  3. Binet, Laurent. 2012 (2009). HHhH. Trans. Sam Taylor. London: Harvill Secker.Google Scholar
  4. Genette, Gérard. 1980 (1972). Narrative Discourse: An Essay in Method. Trans. Jane E. Lewin. Ithaca: Cornell University Press.Google Scholar
  5. Green, Gerald. 1978. Holocaust. London: Corgi Books.Google Scholar
  6. Grossman, David. 1986. See Under: Love. London: Pan Books.Google Scholar
  7. Hutcheon, Linda. 1984. Narcissistic Narrative: The Metafictional Paradox. London: Methuen.Google Scholar
  8. Kearns, Michael. 2002. ‘Ethos, Morality, and Narrative Structure: Theory and Response’. Mountain Review of Language and Literature 56.2: 61–78.CrossRefGoogle Scholar
  9. McGlothlin, Erin. 2009. ‘Theorizing the Perpetrator in Bernhard Schlink’s The Reader and Martin Amis’s Time’s Arrow’. In After Representation? The Holocaust, Literature, and Culture. Eds. R. Clifton Spargo and Robert Ehrenreich. New Brunswick, NJ: Rutgers University Press, pp. 210–230.Google Scholar
  10. Morahg, Gilead. 2002. ‘Creating Wasserman: The Quest for a New Holocaust Story in David Grossman’s See Under: Love’. Judaism 51.1: 51–60.Google Scholar
  11. Picoult, Jodi. 2013. The Storyteller. London: Hodder & Stoughton.Google Scholar
  12. Razinsky, Liran. 2012a. ‘We Are All the Same: Max Aue, Interpreter of Evil’. Yale French Studies 121: 140–154.Google Scholar
  13. Reynolds, Daniel. 2003. ‘A Portrait of Misreading: Bernhard’s Schlink’s Der Vorleser’. Seminar 39.3: 238–256.CrossRefGoogle Scholar
  14. Schlink, Bernhard. 1995. The Reader. Trans. Carol Brown Janeway. London: Phoenix House.Google Scholar
  15. Trumbo, Cleo. 1979a. Foreword to Dalton Trumbo, Night of the Aurochs. New York: Viking Press.Google Scholar
  16. Waugh, Patricia. 1988 (1984). Metafiction: The Theory and Practice of Self-Conscious Fiction. London: Routledge.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

  • Joanne Pettitt
    • 1
  1. 1.School of European Culture and LanguagesUniversity of KentKentUnited Kingdom

Personalised recommendations