Abstract
This article analyses the role of real names in the literary game performed by Christine Angot's autofictional novels. The originals are confronted with letters, notes and printed versions of the novels, found at the Fonds Christine Angot, IMEC, France. From the analysis of the evolution of the names in the different versions of the novels, and from the statements made both from the author and its homonymic narrator, inside and outside the novels, the article proposes an ontology of the use of real names in contemporary autofiction. The text also compares the defense of this right to use real names in Angot and Zola, and raises the question of how the use of real names (and its defense) impacts reception.
Keywords
autofiction; literary game; censorship; self-censorship; literary ontology