McCAFFERY, Larry

p. xix :

Like the avant-garde, Avant-Pop often relies on the use of radical aesthetic methods to confuse, confound, bewilder, piss off, and generally blow the fuses of ordinary citizens exposed to it (a "deconstructive strategy") - but just as frequently it does so with the intention of creating a sense of delight, amazement, and amusement ("reconstructive").

After Yesterday's Crash: The Avant-Pop Anthology, 1995.

BARTHES, Roland

p. 37 :

Le passé simple et la troisième personne du Roman, ne sont rien d'autre que ce geste fatal par lequel l'écrivain montre du doigt le masque qu'il porte.

Le degré zéro de l'écriture, 1953.

BARTHES, Roland

p. 33 :

[L'écriture romanesque] a pour charge de placer le masque et en même temps de le désigner.

Le degré zéro de l'écriture, 1953.

KUEHL, John

p. 62 :

The main characteristics of metafiction are the irrelevance of the individual author and the assumption that literature is collaborative/plagiaristic; the borrowing of characters from one's own and others' work; the fictionalization of the author, who appears in the "unreal"domain of the characters, and the actualization of the characters (often writers), who appear in the "real" domain of the author; the treatment of history as fictitious; the inclusion of unreliable documentation; the projection of linguistic heterocosms or substitute worlds; the tendency to unmask and defamiliarize dead conventions through parody; the employment of arbitrary beginning and multiple endings; the introduction of frames and tales-within-tales, leading to circularity and regressus in infinitum; and the focus on fiction as process rather than product.

(Alternate Worlds, 1989)

KUEHL, John

P. 289 :

Game-playing is central to this kind of fiction because the world is perceived as verbal rather than phenomenal.


(Alternate Worlds, 1989)