Poioumena
Poioumenon (plural: poioumena; from Ancient Greek: ποιούμενον, "product") is a term coined by Alastair Fowler to refer to a specific type of metafiction in which the story is about the process of creation. According to Fowler, "the poioumenon is calculated to offer opportunities to explore the boundaries of fiction and reality—the limits of narrative truth."[31] In many cases, the book will be about the process of creating the book or includes a central metaphor for this process.
Common examples of this are Thomas Carlyle's Sartor Resartus, and Laurence Sterne's Tristram Shandy, which is about the narrator's frustrated attempt to tell his own story. A significant postmodern example is Vladimir Nabokov's Pale Fire (1962), in which the narrator, Kinbote, claims he is writing an analysis of John Shade's long poem "Pale Fire", but the narrative of the relationship between Shade and Kinbote is presented in what is ostensibly the footnotes to the poem. Similarly, the self-conscious narrator in Salman Rushdie's Midnight's Children parallels the creation of his book to the creation of chutney and the creation of independent India. Anagrams (1970), by David R. Slavitt, describes a week in the life of a poet and his creation of a poem which, by the last couple of pages, proves remarkably prophetic. In The Comforters, Muriel Spark's protagonist hears the sound of a typewriter and voices that later may transform into the novel itself. Jan Křesadlo purports to be merely the translator of a "chrononaut's" handed down homeric Greek science fiction epic, the Astronautilia. Other postmodern examples of poioumena include Samuel Beckett's trilogy (Molloy, Malone Dies and The Unnamable); Doris Lessing's The Golden Notebook; John Fowles's Mantissa; William Golding's Paper Men; and Gilbert Sorrentino's Mulligan Stew.[23][31][32][33][34]
https://en.wikipedia.org/wiki/Postmodern_literature
