Manifestations of the meta-novel in the city of images as an example

Abstract

Critics of the last three decades of the twentieth century have observed new literary features represented by the interest of narrative and semiotics in meta-narrative experimentation. The beginnings were with the American novelist and critic William Gass, who used it for the first time in 1970 in his book (Fiction and the Forms of Life). It is also right to call meta-narrative adventure. This modern critical feature assumed that the novel should be experimental, in other words, not sticking to the techniques imposed by the traditional novel.

        Creativity cannot be without experimentation.It is the essence of creativity, and the novelist is creative whenever he is experimental. The experimental novelist bravely transcends reality and the familiar and ventures into the heart of the conventional narrative techniques.Experimentation in general is a feature of post-modernism, and meta-narrative showed these features. Experimental novelists transcend loyalty to the traditional theory in writing narrative fiction, to be replaced by loyalty to experimental theory..The Iraqi novel paid great attention to meta-narrative, and the Iraqi novelist Luay Hamza Abbas in his novel (City of Images) dealt with narrative techniques with great specificity and deliberate intent on his part, and perhaps he created a novel that rebelled against the traditional novel with its usual details, as he is a specialist in studying narration as an effective technique in producing the post-modern novel. So what are the defining dimensions of meta-narrative, meta-story, and what lies behind them? And how did the novelist employ them?