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The border is there to be overstepped, but never totally erased in order to maintain the transgression’s full impact on the readers.
1 For Ryan, transfictionality “consists in producing and posting texts that complete, modify, or stretch in time the worlds of preexisting literary texts or that transpose their plots and characters into new environments.” 2 Saint-Gelais does not really concur with Ryan on the last part of her definition, yet both insist on the importance of a boundary between texts as well as between authors. Simply put, there is transfictionality when fictional elements from one text are reused in posterior texts. Consisting of embedded storyworlds engendering disturbing metaleptic effects, the narrative presents an engaging case of what Richard Saint-Gelais and Marie-Laure Ryan after him have called transfictionality. This essay offers a reading of Auster’s 2004 novel, Oracle Night, as a palimpsestic work in which multiple fictions, possible worlds, coexist and affect each other. Few papers, however, have addressed this topic through the lens of storyworld theories.
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