Metafiktiivinen

Metafiktiivinen is a Finnish adjective derived from the English word metafiction, itself a neologism coined by literary critic John McEwan in the 1970s. The term refers to works of fiction that self‑consciously address the fictional nature of the narrative, often breaking the so‑called “fourth wall” or making explicit that the story is a constructed artifact. In Finnish, the suffix -inen turns the noun metafiksi into an adjective, comparable to the English form metafictional.

The concept can be traced back to earlier literary movements. In the 19th century, authors such as Dostoyevsky and Gorky experimented with metafictional strategies, and the 20th‑century Nouveau Roman in France further pushed the boundaries of narrative self‑awareness. In Finland, the term gained traction during the 1980s and 1990s, especially in academic circles and among experimental writers. The most famous Finnish example is the 1995 play “Kiss” by Risto Hellanen, which alternates between script and performance, questioning the distinction between author, actor, and audience. Contemporary novels by authors such as Leo Tolstoy’s “Anna Karenina” (revised edition) and Pekka Pagarni have also been labeled metafiktiivinen for their explicit commentary on storytelling techniques.

Key features of a metafiktiivinen work include direct address to the reader, deliberate use of narrative devices that expose the artificiality of the text (e.g., an author character appearing within the story, footnotes that reference plot points, or staged scenes that mimic the drafting process), and a thematic focus on the nature of imagination. The genre often overlaps with postmodernism, magical realism, and experimental drama. Its purpose is normally to challenge conventional notions of reality, authorship, and reader expectations, encouraging a reflective engagement with the text.

In contemporary literary studies, metafiktiivinen is analyzed both as a stylistic device and as a critical lens for exploring the relationship between fiction, truth, and perception. It remains an influential concept in Finnish literary criticism and a popular framework for writers experimenting with cross‑genre narrative strategies.