Federman S Fictions

This collection of essays offers an authoritative examination and appraisal of the French-American novelist Raymond Federman's many contributions to humanities scholarship, including Holocaust studies, Beckett studies, translation studies, experimental fiction, postmodernism, and autobiography. Although known primarily as a novelist, Federman (1928–2009) is also the author of numerous books of poetry, essays, translations, and criticism. After emigrating to the United States in 1942 and receiving a Ph.D. in comparative literature at UCLA in 1957, he held professorships in the University at Buffalo's departments of French and English from 1964 to 1999. Together with Steve Katz and Ronald Sukenick, he was one of the original founders of the Fiction Collective, a nonprofit publishing house dedicated to avant garde, experimental prose. Far too many accounts treat Federman as merely a member of a small group of writers who pioneered "metafictional" or "postmodern" American literature. Federman's Fiction will introduce (or, for some, reintroduce) to the broader scholarly community a creative and daring thinker whose work is significant not just to considerations of the development of innovative fiction, but to a number of other distinct disciplines and emerging critical discourses.

This book examines how, beginning in the 1960s up to the present, a new type of fiction was created in America, but also in Europe and Latin America, in response to the cultural, social, and political turmoil of the time. The author has coined the term “Surfiction” for this New Fiction. Written in an informal, provocative style, by an internationally known practitioner, these essays examine the cultural, social, and political conditions that forced serious writers to reflect (often within the work itself) on the act of writing fiction in the modern world. The entire book can be read as a manifesto for the present and future of the new fiction. This book is the first in the SUNY series in Postmodern Culture, edited by Joseph Natoli.

This book consists of a set of letters from an unidentified writer to an unidentified recipient. The novel ends mysteriously, and so continues to vibrate in our imagination. To Whom it May Concern will join that short list of books we treasure most deeply, those few statements that remind us of who we are, and of what we are capable.

This first full-length study of leading con­temporary writers Ronald Sukenick and Raymond Federman defines the differ­ence between modern and postmodern writers as the distinction between mime­tic and performance art. Larry McCaffery notes that "Kutnik's thesis is that performance art engages the artist and the audience in a process whose function is fundamentally differ­ent from the mimetic tradition... that is, rather than aiming at representing some preexisting state of affairs, perfor­mance art seeks to be an experience for its own sake, an experience which is ultimately to be recognized as continu­ous with reality and not merely an occa­sion for interpretation and analysis." Postmodernists such as Sukenick and Federman spotlight themselves in the act of writing. Thus their creations have a life of their own, and the act of writing is so much a part of that life that the process of creation is as important as the end product. Kutnik's metaphor for this proc­ess is performance art.

The Avant-Postman explores a broad range of innovative postwar writing in France, Britain, and the United States. Taking James Joyce’s "revolution of the word" in Ulysses and Finnegans Wake as a joint starting point, David Vichnar draws genealogical lines through the work of more than fifty writers up to the present, including Alain Robbe-Grillet, B. S. Johnson, William Burroughs, Christine Brooke-Rose, Georges Perec, Kathy Acker, Iain Sinclair, Hélène Cixous, Alan Moore, David Foster Wallace, and many others. Centering the exploration around five writing strategies employed by Joyce—narrative parallax, stylistic metempsychosis, concrete writing, forgery, and neologising the logos—the book reveals the striking continuities and developments from Joyce’s day to our own.

In 1942, after hiding to escape the Nazis, our narrator (named, simply, Federman) finds his way to Vichy France. Unwanted by his relatives, he is forced to spend the remainder of the war as an unpaid laborer. For three wordless years on the farm, this thirteen-year-old is assailed by suffering, death, sex, and the back-breaking labor of shoveling manure. Sixty years later, in the United States, Federman--the author? the narrator? both?--wrestles with nostalgia and bitterness. He finally returns to the farm with his wife, but once the journey is complete he no longer knows why he has made it, nor what he expected to find. Through the merger of fact and fiction, storytelling and reality, memoir and imagination, Return to Manure extends and enhances Raymond Federman's brilliant ability to side-step narration's limits and impossibilities.

This book examines how, beginning in the 1960s up to the present, a new type of fiction was created in America, but also in Europe and Latin America, in response to the cultural, social, and political turmoil of the time. The author has coined the term "Surfiction" for this New Fiction. Written in an informal, provocative style, by an internationally known practitioner, these essays examine the cultural, social, and political conditions that forced serious writers to reflect (often within the work itself) on the act of writing fiction in the modern world. The entire book can be read as a manifesto for the present and future of the new fiction. This book is the first in the SUNY series in Postmodern Culture, edited by Joseph Natoli.

Fiction. Jewish studies. For decades, Raymond Federman has been dazzling readers with his unique brand of "surfiction"--throwing zany words all over the page and inserting himself into every fiction, often through such zany alter egos as Moinous and Namredef. Now comes the greatest self-reverential work of all as Federman spins all manner of tales of various parts of his own body, recounting his childhood in France, adult life in the U.S., Jewish heritage, and career as a writer, with no effort made to distinguish between fact and fiction, memory and imagination. Previously published in France as Mon corps en neuf parties, Federman's masterpiece is now available for the first time in English, with augmented translation by the author and accompanied by ten photographs by Steve Murez.