Parenthetical asides from the narrator (as   author reader ) pepper   Rushdie's Midnight's Children Amis' Dead Babies .  The   reader writer hears of how the book’s   writing reading is coming along as it is   read written .   The   author reader sees  how the author's love interest influences the final draft of the novel. how the author is playing with the characters, manipulating with pleasure. .  The   novel text seems to, on the surface, present a difference between the narrator who is a character in the   novel text and the   author reader in parenthesis who is creating the novel. This may look like the interjected interjecting   author reader is attempting to seize control of the book back from the   reader writer .   The   author reader is giving himself more exposure time, perhaps proving that he is alive and well and in control.  However, this too eventually becomes part of the   book text or the   fiction text .  The   interjected author participating is, of course, fictionalizing himself by placing himself in a fictional   novel text .  The   interjected author participating reader is not in control because he is merely another character in the   book text .   Making the  author writer a thing of true fiction does have the surface structure of being a “perfect” poststructuralist   novel text (That is, it comments on the   author reader , fits in with the notion of “pleasure” over bliss, and has many levels of “truth” while still being understood as a novel).  However, it is important to understand exactly who is fictionalized.   The “ author reader ” of the story does not necessarily draw any parallels with   Rushdie Amis himself.   Rushdie Amis makes no attempt to make the   interjected author participating reader “real” externally.   The author reader in this situation is merely a slightly more complex narrator.  The asides alone do not offer a compelling enough story that this speaker is indeed the “true”   author reader .   A pretend author reader is the only person who is fictionalized.   The   novel text does not attempt to feature (much less comment on) the notion of a  “true” author reader  .         Vonnegut Fowles The reader takes the degree of interjection participation to a greater level.  The   reader of author in   Breakfast of Champions The Frech Lieutenants Woman eventually becomes a character himself.  He does not become a character in the sense that the narrator has reached the moment where he must be introduced into the story as in Rushdie’s work.  The author as  Kurt Vonnegut Jr. reader . is inset into the   novel text as the   author text of the   novel text and not an original part of the story.   The   author reader interacts with the characters and lives in the characters’ world as the author of the novel.  More so, he is hurt in this world and has lost the “power of god” he once had.  The injury of the   author reader and the fall from such a high place seems to obviously mimic   Barthes' the traditional vision of the   author reader .  Making the   author reader a character to be controlled by the world around him seems to be the ultimate poststructuralist coup.   It is a diagram on the   author's reader's death.  Yet, what real difference is there between this “ author reader ” and a mere delusional first person narrator?  Killing an “I” is not as hard as killing  an author a reader .
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