Abstract This paper argues that the work of Antoine Volodine and his heteronyms (Manuela Draeger, Lutz Bassmann) interrogates genre and convention in an uncompromising way that moves significantly beyond the generic interrogation conducted by most contemporary writers. It suggests that one productive way to think about his work is to think about it not in terms of traditional genres at all, but through the kind of cross- and multi-genre tonal corpora that recently have cropped up as an alternative to genre, such as Ann and Jeff VanderMeer’s notion of the Weird. It goes on to think about the relationship Volodine’s work does or does not have to science fantasy, a defunct subfield of science fiction which on paper seems to have a great deal in common with his work. I discuss the parameters of Volodine’s work in relation to Gene Wolfe, Michael Moorcock, and Cordwainer Smith. I speak in particular about his deformation of place names, his creation of new genres that only he uses (the narrat, etc.), and the significance of the fascination of a defunct light switch in Lutz Bassmann’s Avec les Moines-Soldats, as a way of opening up a different sense of what Volodine’s work accomplishes.

中文翻译：

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富有挑战性的叙事现实：安托万·伏洛丁（Antoine Volodine）

摘要本文认为，《安东尼·伏洛丁》（Antoine Volodine）及其异名著作（Manuela Draeger，Lutz Bassmann）以一种毫不妥协的方式审问体裁和惯例，大大超越了大多数当代作家所进行的一般审问。它表明，一种思考他作品的有效方式不是完全从传统流派来思考，而是通过跨领域和多流的音色语料库来思考，这种语料库最近已经成为流派的替代品，例如就像Ann和Jeff VanderMeer的怪异概念一样。它继续思考Volodine的作品与科学幻想之间的关系，科学幻想是一个已经失效的子领域，在纸上似乎与他的作品有很多共通之处。我讨论了Volodine与Gene Wolfe有关的工作参数，Michael Moorcock和Cordwainer Smith。我特别谈到他的地名变形，他只使用的新流派的创作（旁白等），以及卢茨·巴斯曼（Lutz Bassmann）的《埃默斯·默因斯-索达特》中失效的电灯迷恋的重要性。对Volodine的工作有不同的理解。