Typology of Slovenian Drama in the Period Between the Two World Wars

From the 1970s, the term metafiction has been mostly confined to studies of American and Western European literatures; I propose using metafiction as a means of approaching Sergei Dovlatov’s Zona [The Zone], a novel which blurs the line between fiction and memoir. In one sense a prison text, in that it concerns the lives of guards and prisoners in a camp, it is, however, divorced from survivor narratives in that the camp does not contain political prisoners, so the “heroes” are the thieves and criminals so universally reviled in other memoirs of the Soviet gulag. It is also a record of its author’s developing need to write as it tracks the transformation of the guard Boris Alikhanov, Dovlatov’s alter-ego. Dovlatov’s authorial persona serves not to elucidate the text, but to construct a hybrid prison memoir which supports his views on the prison experience; views which are in opposition to the pre-existing tradition, and this leads me to describe The Zone as a metatextual camp narrative, containing many of the attributes of the metafictional novel, though originating from the memoiristic impulse and still straddling the line between fiction and nonfiction in a way that true metafictions do not.