By Conor Truax
Πολύ ενδιαφέρον άρθρο πάνω στο μυθιστόρημα στο διαδίκτυο, την αφήγηση, την αυτομυθοπλασία.
https://spikeartmagazine.com/articles/essay-against-autofiction-two-paths-for-the-internet-novel
Απόσπασμα:
But what of the internet novel today? It’s tempting to read A Thousand Plateaus as anticipating the structure of the internet. (Wikipedia, with its rhizomatic hypertext, might be seen as a scale model of the internet as a whole.) However, it’s less clear how their formulation maps onto contemporary fiction, as was their intent, and, more broadly, why the culture writ-large has so inexorably linked autofiction and the internet novel.
Following Deleuze and Guattari, we might define the internet novel as a physical, rhizomatic text with two instantiations: the autofictional novel and the database novel. In the former, more common case, the author is interpreted, willingly or not, as its hermeneutic center; whereas the latter, less common case employs some combination of innovative structuring, excision, and appropriation that highlights (1) the factuality of elements that are presented as such; and/or (2) the order of its content. As a result, most database novels tend to be indeterminate. Olga Tokarczuk’s Flights (trans. 2018) is written in various, rhizomatic set pieces – with different protagonists spanning centuries and locales – that relate to each other by loose association, and can be read in any order. Conversely, autofiction’s scrollable, anesthetized prose tends to be linearly ordered, winking and nudging the reader’s attention to the authorial persona outside of the text, as is the case in Gabriel Smith’s Brat (2024), which is narrated as it is being written by one Gabriel Smith.
These classifications leave us with two clean brackets of categorization, but also two questions: Why has so much of recent literary fiction deferred to the autofictional camp? and why should we look beyond it?
Δεν υπάρχουν σχόλια:
Δημοσίευση σχολίου