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?
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.
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.
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
By employing the omniscient method, Magarian is almost necessarily ruling out the kind of detailed probing of his characters’ psychological states we have perhaps come to expect in fiction.