by Daniel Green

Remedia – Michael Joyce

The hypertext author is unavoidably confronting the role of order and form in fiction

Passing Away – Tom LeClair

[PASSING AWAY] may most adeptly assimilate the influence of those adventurous writers whose work Tom LeClair the critic has so usefully illuminated.

Riddance – Shelley Jackson

RIDDANCE, it turns out, is not simply (or even primarily) a gothic fantasy about communing with the dead but an allegory about writing.

A Swarm of Dust – Evald Flisar

To what extent can we indeed plausibly claim to be focusing our attention on the text itself when the context needed to make the text fully intelligible might be missing?

The Solitary Twin – Harry Mathews

To fully appreciate the fiction of Harry Mathews, we must take the notion of “game” not in the sense used by many critics to imply frivolity and lack of purpose, but as an activity that poses a challenge.

Strawberry Fields – Hilary Plum

If STRAWBERRY FIELDS deflects some of our attention away from the usual interest in plot and character, its formal arrangement deftly reinforces its ethical ambitions.

The Unmapped Country – Ann Quin

The substance of Ann Quin’s novels are not to be found in their stories but in the ways in which Quin displaces the story without ever quite abandoning it.

Solar Bones – Mike McCormack

Perhaps the novel’s greatest value is in demonstrating that unorthodox writing strategies need not make a literary work difficult for a patient reader.

Worlds from the Word’s End — Joanna Walsh

In stories such as these, Walsh relies more heavily on continuous narrative than in VERTIGO, but still underscores what is not revealed, what acquires meaning only when unspoken.

Anatomy of Thought-Fiction: CHS Report 2214 – Joanna Demers

The line between fiction and nonfiction, the creative and the critical, may have by now become blurrier and blurrier, but perhaps there is after all a point where to call an act of writing “fiction” only obscures that work’s actual achievement