END NOTES
1. Susan Lanser, "Toward a Feminist Narratology," Style 20. 3 (1986): 344.
2. For differing approaches to theories of mimesis see Erich Auerbach, Mimesis: The Representation of Reality in Western Literature, trans. Willard R. Trask (Princeton: Princeton University Press, 1953), Roland Barthes, The Pleasure of the Text, trans. Richard Miller (New York: Hill and Want, 1975), Jacques Derrida, "Economimesis," in Jacques Derrida et al., Mimésis des articulations (Paris: Aubier-Flammarion, 1964), Rene Girard, Deceit, Desire, and the Novel: Self and Other in Literary Structure, trans. Yvonne Freccero (Baltimore: Johns Hopkins University Press, 1965), Philippe Lacoue-Labarthe, "Diderot: Paradox and Mimesis," in Christopher Fynsk, ed. Typography: Mimesis, Philosophy, Politics (Cambridge: Harvard University Press, 1989) and Gunter Gebauer and Christoph Wulf, Mimesis: Culture, Art, Society (London: University of California Press, 1995).
3. Here I am referring to Rosi Braidotti's nomadism which entails a constant state of "in-process" or "becoming," and which she refers to as "as-if." Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory (New York: Columbia University Press, 1994), 5.
4. Interestingly the narrator's name only comes to light deep into the hyperfiction when her chemistry teacher uses her as an example for the class, "Tracey is combining two bases and she...," and "Tracey is making acetesalycyclic acid from scratch in her kitchen," Fisher, "Femme," These Waves of Girls. Fisher's unwillingness to name the main protagonist early on can be seen as an Irigarian attempt to dismantle a type of patriarchy. As Irigaray says, "Enveloped in proper skins, but not our own. Withdrawn into proper names, violated by them. Not yours, not mine. We don't have any. We change names as men exchange us, as they use us, use us up. It would be so frivolous of us, exchanged by them, to be so changeable," Luce Irigaray, "When Our Lips Speak Together," in This Sex Which is Not One, trans. Catherine Porter (Ithaca: Cornell University Press, 1985), 205.
5. Christopher Prendergast, The Order of Mimesis: Balzac, Stendhal, Nerval, Flaubert (Cambridge: Cambridge University Press, 1986), 1.
6. According to Boyd, since the erosion of Aristotelian mimesis, words have become nothing more than transparent vehicles for the transportation of knowledge. John Boyd, The Function of Mimesis and Its Decline (Cambridge: Harvard University Press, 1968), 206. See also M.H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition (New York: Oxford University Press, 1973).
