Moneyham
Quinn Moneyham
English 1020
Mrs. Simms
November 6, 2003
A Fine Line Between Fantasy and Fiction
Metafiction defines fictional writing which self-consciously and systematically draws attention to its status as an artifact in order to pose questions about the relationship between fiction and reality (Waugh 2). Metafiction, a term used loosely across many genres of fictions, gives the idea of fiction as, concepts with the intention of going beyond the familiar or presumed reality (Hembree 1). Using metafiction to describe a works allows for usage along a full spectrum of ideas. Metafiction provides the foundation for many short stories and other works of fiction. Ambrose Bierce, a highly criticized innovator of experimental fiction, uses aspects of metafiction effectively in his writing projects. In one of his most famous works, “An Occurrence at Owl Creek Bridge,” Bierce uses metafictional characteristics to create a measure of comparison for the genre. In the words of literary critic Cathy Davidson, “Bierce has staked his claim as ‘the precursor of postmodern fiction.’” Bierce’s short stories create intense drama in a small amount of space, although usually leaving readers with many questions, strongly placing his works into the metafiction genre. Often compared to the likes of Edgar Allen Poe, the close examination of time, the attention given to mental fiction to avoid real life, and the blending of reality and fiction allow Bierce’s works of fiction, the annotation of classic.
Bierce carefully divides the narrative, “An Occurrence at Owl Creek Bridge,” into three parts. Each part carefully intertwines the aspects of the close examination of time, the attention given to mental fiction to avoid real life, and the blending of reality and fiction. “An Occurrence at Owl Creek Bridge” begins powerfully with an unnamed protagonist. At this point, Bierce creates an atmosphere of mystery. The author only describes the problematic situation of the character, “The man’s hands were behind his back, his wrists bound with cord. A rope closely encircled his neck (Bierce 106).” The reader does not know it yet, but the situation alludes to death. The author attempts to initiate the reader to question the man’s entrapment and his ability to break away. Further, the author only details the man has committed a crime. What crime? Bierce forces the reader to continue through curiosity. The author sets no preliminaries for the actions taking place. Bierce firmly plants the reader inside the story here. During Part One the author also shows intense time distortion. Literary critic Cathy Davidson states, “…it is a speculation on the nature of time and the nature of the abnormal psychology…(Davidson 196).” The author introduces minor thoughts of the protagonist, “…a piece of driftwood caught his attention and his eyes followed it down the current. How slow it appeared to move! (Bierce 107).” The author’s manipulation of the time to allows readers to question the trivial nature of the protagonist’s thoughts, as well as, to further pull the reader’s attention away from the reality of the time span. Bierce allows Farquhar’s stream of thoughts to tease the time. At the end of Part One, Bierce starts a dream sequence that will be picked up later on in the story, “ If I could free my hands I might throw off the noose and spring into the stream… (Bierce 107).” For that dream only could have last no more than a split second, he imagines a greatly detailed feat. Using time as the key, Bierce shows the bridge between fantasy and reality.
