The many different narrative forms used in the collection Best European Fiction 2010, though frequently “experimental,” are hardly unfamiliar; stories are fragmented, seen from different angles, in ways that make it increasingly difficult to us to decide how much reality to attach to them or how much emotion to invest. In personal statements included at the back of the book, writers mention such models as Kafka, Borges, and Barthelme, suggesting that narrative experimentalism has become a literary lingua franca, an international convention.
This article is available to subscribers only.
Please choose from one of the options below to access this article:
Purchase a print subscription (20 issues per year) and also receive online access to all articles published within the last five years.
Purchase an Online Edition subscription and receive full access to all articles published by the Review since 1963.
Purchase a trial Online Edition subscription and receive unlimited access for one week to all the content on nybooks.com.