THE NOVELISTIC ANTIFICTION AS A COMMITMENT TO THE TRUTH, THROUGH AUTOFICTION AND TESTIMONY

Abstract

The article observes the phenomenon of the demand for the real in contemporary narrative based on one of its most experimental tendencies: autofiction as a possibility of testimony literature and memory fixation, as resistance to the politics of forgetfulness. To do so, we resort to the commitment to the truth of the self-writings, which Foucault called parresia, because, according to Bakhtin, the novel became a complex art by assimilating genres in which the self speaks of itself and begins to manifest truths that the unpersonal narrative does not reach. The notion of antifiction, created by Lejeune, is basic for this demand to be seen as an explanation for what has happened with the novel. Instead of seeing only the self-writings as antifictional, we opted for the idea of ​​the novelistic antifiction, starting from the concept of fiction by Searle, who does not oppose it to the truth, but sees it as the result of a pact of reading. Antifiction as a model of parresia mentions in here many paradigmatic works, which embraces since self-writing to novel, but focuses, mainly, Marcelo Rubens Paiva, Milton Hatoum and Patrick Modiano as models of testimony that treats trauma, those which Finazzi-Agrò considers the inter-dito that awakes an empathy in the reader because the truth the passional contains.