What is Metafiction?

Meta:

A playful and pretentious prefix! Use it today and impress your friends.

From the Greek μετά, meaning ‘with’, ‘after’, ‘between.’ The Oxford English Dictionary says, “The earliest words in English beginning with meta- are all derived ultimately from Greek (frequently via Latin or French); in most the idea conveyed by meta- is that of ‘change,’” as in metamorphosis, metaphor and metaplasm. English formations with meta- meaning ‘beyond’ (and that is the sense that will concern us here) appeared in the first half of the 17th century, as in metatheology. Scientists from the 19th century onwards also used the prefix to mean “behind,” as in metaphrenum, “situated between,” as in metasomatome, and “after,” as in metasperm (I like that one).

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Don Quixote: The Origin of Modern Realism and Metafiction


tilting-at-windmillsAdapting genres, Cervantes created two new ones: realism and metafiction, says Robert Alter in Partial Magic (1979). The “juxtaposition of high-flown literary fantasies with grubby actuality” established realism, while the “zestfully ostentatious manipulation” of the artifice of literary creation set precedent for “all the self-conscious novelists to come” (Alter 3 – 4). Realism and metafiction were born on the same day and became, almost immediately, rivals. Metafiction is the elder brother, however, since realism was a metafictional technique Cervantes created to parody the conventions of romance. Most fiction since Cervantes, says Alter, can be classified under one of these two headings.

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Narrative Madness: Endorsements by Michael Krasny, Geoffrey Green and Robert Alter

You’re crazy! By that, I mean you cannot easily distinguish fiction from reality, and you let delusions brought on by narrative influence your perception and behavior. Like Don Quixote, you wander lost through clouds of story. Your madness, however, does not actually separate you from the world; rather, it connects you because narrative language is the principle means by which humans understand and reshape ourselves and our world.

Ronald B. Richardson, aka Ronosaurus Rex, has published a new book, edited by Katie Fox, which is available at narrativemadness.com or on Amazon. He has also had an excerpt called “Narrative is Memory, Memory is Narrative” published in the post-beat pre-apocalypic Sensitive Skin Magazine.

“Although I hesitate to use the word, it is, on the whole, a brilliant work,” said Dr. Michael Krasny, host of Forum on KQED and Dr. Geoffrey Green, Executive Editor of Critique, wrote, “Thoroughly innovative . . . insightful, provocative, and, in the best sense of the word, scholarly.”

“The writing is lively and at times quite amusing–a blessed relief from dreary academic prose,” wrote Dr. Robert Alter, author of Partial Magic: The Novel as Self-Conscious Genre, “The fundamental argument that Don Quixote is no madder than the rest of us but rather an exemplar of our condition as language-using, storytelling creatures is quite persuasive.”

Narrative Madness: Endorsements by Michael Krasny, Geoffrey Green and Robert Alter

You’re crazy! By that, I mean you cannot easily distinguish fiction from reality, and you let delusions brought on by narrative influence your perception and behavior. Like Don Quixote, you wander lost through clouds of story. Your madness, however, does not actually separate you from the world; rather, it connects you because narrative language is the principle means by which humans understand and reshape ourselves and our world.

Ronald B. Richardson, aka Ronosaurus Rex, has published a new book, which is available at narrativemadness.com or on Amazon. He has also had an excerpt called “Narrative is Memory, Memory is Narrative” published in the post-beat pre-apocalypic Sensitive Skin Magazine.

“Although I hesitate to use the word, it is, on the whole, a brilliant work,” said Dr. Michael Krasny, host of Forum on KQED and Dr. Geoffrey Green, Executive Editor of Critique, wrote, “Thoroughly innovative . . . insightful, provocative, and, in the best sense of the word, scholarly.”

“The writing is lively and at times quite amusing–a blessed relief from dreary academic prose,” wrote Dr. Robert Alter, author of Partial Magic: The Novel as Self-Conscious Genre, “The fundamental argument that Don Quixote is no madder than the rest of us but rather an exemplar of our condition as language-using, storytelling creatures is quite persuasive.”

The Floodgates Have Opened: A Writer and a Teacher Today

Written May 17, 2010

The university took from me the ability to write. During creative writing workshops at the University of Utah, I learned the important, but painful lesson that a lot of my writing was melodramatic, cliche-ridden, and fatty. I learned what not to write, but not how to write. I learned what to cut, but not how to produce. I dropped out of college and began two decades of obsessive revision, revision, revision. I have drawers full of well-polished beginnings, written for no one, read by no one. About sixteen years after dropping out, I went back to school. And I love it. Since the university gave me writer’s block, it is appropriate that the university has now opened the floodgates. I have become a prolific writer, who is actually read by real people in the real world. (Hello, world!)

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Actors Playing Themselves

What does it mean when stars portray themselves? Are we getting a glimpse of  “the real person”? Far from it! We learn instead that the actor and the image are not the same person. Few performances are as artificial as those in which actors play themselves.

In an interview with the acclaimed actor Michael Cain, Michael Parkinson said, “Yours is the most impersonated voice in the business.” Cain responds, “Oh yeah, everyone– I– I can do it.”

“Can you do it?”

“Yeah, yeah . . . ‘Ello, My name is Michael Cain.” (When he says his name, it sounds like “my cocaine.”) The interviewer and the studio audience laugh. Michael Cain does not. He says, rather seriously, “I sound like a bloody moron.” What does it mean when an actor criticizes his own image?

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Metamucil: Making Meta-Shit Happen

If metafiction is fiction about fiction and metapainting is painting about painting, “Metamucil” must be mucil about mucil, right? But what is mucil?

(Photo borrowed from the hysterical website de-motivational.com.)

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Like This!: The Liking of the Liking of Liking

I just liked a new Facebook page called, “Liking.” I liked it before I liked it and I still like it. You should like it too. Why not?

The “Like” button on Facebook has changed the verb. Before Facebook, “like” was a positive emotion one felt towards a person or object, but now “liking” means pressing a button. Doing so means you like something in the traditional sense, so the like button refers back to the furry and friendly emotion. The button hasn’t replaced the feeling, so there is no reason not to like it.

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Don’t Invalidate My Existence: A Meta-Dream

Sometimes I realize I am dreaming. Once, my college friend Robert Lochner and I were in line at the check-out counter of a grocery store. I told Robert I was dreaming as the cashier began to ring me up and that everyone in my dream was a figment of my imagination and that they would cease to exist as soon as I woke up. Robert, who was familiar with my philosophical posturing, rolled his eyes, but kept quiet, waiting for his turn at the register. The cashier, however, got very upset.

“I don’t care what you believe,” she said, pointing at me, “but don’t you invalidate my existence! You hear me? You can think whatever you want–I don’t care–but it is extremely, extremely rude to tell someone they don’t exist. How would you feel if I told you were just a character in my dream? A figment of my imagination? How would you like that?”

That is all I remember. I woke up. My friend Robert survived the dream although I haven’t heard from him in years. I was about to say that the cashier did not survive, but I have told this story several times and now I have written it down and sent it out into the cloud. The cashier doggedly continues her existence in spite of my insensitive comments. She exists. She is real.

(To read more about the reality of fiction, read my book Narrative Madness, available at narrativemadness.com or on Amazon.)

Watching the Watcher: McMenamy x M.A.C., a Meta-Movie

In this short metafilm by Miles Aldridge, the viewer watches supermodel Kristen McMenamy, “the cosmetics muse,” watching a movie. We never see what she is seeing. We only see her face (and bold makeup, hair and clothing). We are the watchers that watch the watcher. We enjoy her enjoyment and get off on her catharsis.

McMenamy x M·A·C on Nowness.com.

(Read more about metafilms in this post by Omar Rodriguez Rodriguez: Metafilms: An Introduction.)