![]() ![]() So if you want to read something a little different, these books are a good place to start. “I limited myself to novels written in English (with one exception) and arranged the list chronologically. “This list includes books that use all of the above techniques, and challenge the reader by telling stories in new ways,” Winter continues. It is only when a novel can be told in no other way, and remains entertaining and enlightening, that a book with unusual form works.” If unique form seems unnecessary for the telling of the story, then these tricks feel only like tricks, unearned. If story is sacrificed for form, a novel’s no fun to read. Perhaps that’s because playing with form can be so hard to do right. However, I’ve had to learn that when I discuss my own novel The Twenty-Year Death, I need to lead with story rather than form or my interlocutor loses interest. The first place to start is the epistemological basis both Pynchon and Lyotard take to support this view on narrative. ![]() ![]() Narrators within narrators, footnotes, colored ink, unique page layout, frame narratives, genre-bending, blank pages, photographs these all pique my interest. “When it comes to novels,” he writes, “I’ve always been as excited by form as by story. Winter’s The Twenty-Year Death, a novel in three novels, each in the style of a different mystery writer, which hits bookstores next week, we asked the author to give us a rundown on some of his favorite works of meta-fiction. As you might have noticed, we love us some meta literature here at Flavorwire. The first concerns the cyclic movement of its narrative discourse in which the tense, overlapping and recurrent dialogues create the inevitably explosive. ![]()
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