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By Ignacio Martín-Baró

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17 The type of narrative that must be distinguished from these is necessarily fictional and, in regard to the design of the work, it matters little to what degree an author’s life story may be buried there. The act of deciphering the clues to an author’s lived experience, however, becomes central to the way in which the reader constructs the meaning of this sort of text, in part because the relation between text and author is emphatically undecidable. Any reader can, of course, perform such an interpretive operation on any text, but certain texts are more prone to such a reading because they cue the reader to detect, accurately or otherwise, such traces of the author in the narrative.

2. Saul Bellow, Mr. Sammler’s Planet (New York: Viking, 1970). 3. Saul Bellow, The Bellarosa Connection (New York: Penguin Books, 1989). Hereafter referred to as BC. 4. , 2. 5. Saul Bellow, Ravelstein (New York: Viking, 2000). 6. E. L. Doctorow, World’s Fair (New York: Random House, 1985). 7. David Leavitt, ‘‘Looking Back on the World of Tomorrow,’’ a review of World’s Fair, by E. L. Doctorow, New York Times Book Review, November 10, 1985, 3. 8. E. L. Doctorow, Lives of the Poets: Six Stories and a Novella (New York: Random House, 1984).

In order to understand the scope of Roth’s explorations into this question, and to see how he might have moved from making use of autobiographical reference to foregrounding the problem of distinguishing fiction from autobiography, it is worth trying to outline the contexts out of which the question arises. The most obvious is perhaps Roth’s repeated use of first-person narration, a device conventionally intended to heighten verisimilitude by lending the authority of an experience to the voice that narrates it as eyewitness and participant.

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