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7One explicit hypotext in Auster’s City of Glass casts Daniel Quinn as a postmodern Don Quixote,26 obsessed with a hermeneutical quest into the analogical.27 In the novella, his first encounter with Peter Stillman Junior triggers a three page long incursion into other cases of wild children growing up deprived of human contact.28 Quinn’s reflection ends with an analeptic vision of his son’s burial, and the understanding that saving Peter Stillman from his father becomes a necessary, chivalric mission, partly redeeming the loss of his own little boy, also called Peter. In the graphic adaptation, the episode is rendered in a double page designed somewhat like a checkerboard, with strips alternating somber panels representing Quinn’s wandering and wondering , the captions indicating his train of thought, through the city, with lighter panels showing close up, sketched portraits of a series of wild boys.29 The series starts with Peter Stillman Jr., and loops back to him in the bottom right strip, breaking away from the aforementioned regular pattern. Instead of continuing the previous alternation between shots of the city and wild boy portraits from one panel to the next, the last strip engulfs the reader into some analogical displacement process, resorting to a technique similar to stream of consciousness in novelistic discourse.

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L’érotisme, l’homosexualité, le désir de cultiver ses envies charnelles, le fantasme, le débordement, mais aussi l’ennuyante banalité de la recherche du plaisir sont des thèmes récurrents dans l’autofiction des plus jeunes générations. On a assez entendu que l’autofiction serait exhibitionniste, une sale manière de déballer sa sexualité à qui ne veut la voir. Ou l’avoir?.

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