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There are 21 critical essays on Metafiction.
Critical Essays on Metafiction
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 Critical Essay by Stefano Tani
13,480 words, approx. 45 pages
 In the following essay, Tani provides an overview of the metafictional anti-detective novel and reviews the major works of the sub-genre.
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Critical Essay by Inger Christensen
11,304 words, approx. 38 pages
In the following essay, Christensen provides a thematic and stylistic analysis of John Barth's metafictional novels The Sot-Weed Factor and Giles Goat-Boy.
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Critical Essay by Barry Wood
9,956 words, approx. 33 pages
In the following essay, Wood contends that Lowry's short story “Ghostkeeper” reveals insights into his creative process and acts as a model for his later work.
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Critical Essay by Paul M. Hedeen
9,820 words, approx. 33 pages
In the following essay, Hedeen discusses William Faulkner's The Sound and the Fury as a work of metafiction, and explores the affinities shared between Faulkner and William Gass.
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Critical Essay by Ulrich Wicks
9,701 words, approx. 32 pages
In the following essay, Wicks places the work of Jorge Luis Borges within the metafictional tradition of Miguel de Cervantes, Laurence Sterne, André Gide, and John Barth.
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Critical Essay by David K. Herzberger
7,131 words, approx. 24 pages
In the following essay, Herzberger analyzes the characters of the Spanish metafictional novel of the 1970s and 1980s.
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Critical Essay by Linda Hutcheon
6,799 words, approx. 23 pages
In the following essay, Hutcheon traces the implications of metafiction on the literary genre of the novel.
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Critical Essay by Randall Craig
6,758 words, approx. 23 pages
In the following essay, Craig analyzes the relationship between reader-response theory and metafictional literature.
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Critical Essay by Patricia Waugh
6,627 words, approx. 22 pages
In the following essay, Waugh defines the genre of metafiction and asserts that “this form of fiction is worth studying not only because of its contemporary emergence but also because of the insights it offers into both the representational nature of all fiction and the literary history of the novel as genre.”
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Critical Essay by Robert C. Spires
6,303 words, approx. 21 pages
In the following essay, Spires examines the early precursors of Spanish metafiction: Miguel de Cervantes's Don Quixote, Francisco de Quevedo's Historia de la vida del Buscón, and Benito Perez Galdós's “La novela en el tranvía.”
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Critical Essay by Thomas E. Kennedy
6,175 words, approx. 21 pages
In the following essay, Kennedy examines two little-known works of short metafiction—Sherwood Anderson's “Death in the Woods” and Gordon Weaver's “The Parts of Speech.”
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Critical Essay by Michael Dunne
4,787 words, approx. 16 pages
In the following essay, Dunne finds parallels between John Barth's Lost in the Funhouse and Woody Allen's film The Purple Rose of Cairo.
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Critical Essay by Manuel Durán
4,232 words, approx. 14 pages
In the following essay, Durán underscores the influence of Miguel de Cervantes's Don Quixote on contemporary Spanish fiction and identifies several important Spanish authors.
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Critical Essay by John Pennington
3,863 words, approx. 13 pages
In the following essay, Pennington asserts that George MacDonald's Phantastes “anticipates modern metafictional techniques.”
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Critical Essay by Linda M. Willem
3,080 words, approx. 10 pages
In the following essay, Willem considers the complementary relationship between Benito Perez Galdós's La incógnita and Realidad.
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Critical Essay by David K. Herzberger
3,066 words, approx. 10 pages
In the following essay, Herzberger perceives the maturation of contemporary Spanish metafiction “as a condition of intrinsic literary factors.”
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