A fundamental belief about time is that the future is open while the past is set. But in Emmanuel Carrère’s 1986 novel La Moustache, the main character shaves off his mustache one day only to find that his wife and coworkers don’t react: Reality has twisted so that he has never had a mustache.

As the novel continues, other pieces of his personal history change one by one, as if his life is being replaced by another one. Finally even facts that have been described in earlier chapters begin to change. The hero flees to Macao, where he knows no one and has no history. But his wife is in the room there, and she shows no surprise at seeing him.

“This suggests that the hero has not been taken to Macao by the events reported in the preceding chapters,” writes Marie-Laure Ryan, “but that he is there as a tourist on a completely normal family vacation. At this point the novel becomes a self-destructing artifact that denies what is generally considered to be the main function of narrative: its ability to tell about and to preserve the past.”

(Marie-Laure Ryan, “Impossible Worlds and Aesthetic Illusion,” in Werner Wolf, et al., Immersion and Distance: Aesthetic Illusion in Literature and Other Media, 2013.)

From Roland Barthes’ 1975 autobiography:

I like: salad, cinnamon, cheese, pimento, marzipan, the smell of new-cut hay (why doesn’t someone with a ‘nose’ make such a perfume), roses, peonies, lavender, champagne, loosely held political convictions, Glenn Gould, too-cold beer, flat pillows, toast, Havana cigars, Handel, slow walks, pears, white peaches, cherries, colors, watches, all kinds of writing pens, desserts, unrefined salt, realistic novels, the piano, coffee, Pollock, Twombly, all romantic music, Sartre, Brecht, Verne, Fourier, Eisenstein, trains, Médoc wine, having change, Bouvard and Pécuchet, walking in sandals on the lanes of southwest France, the bend of the Adour seen from Doctor L.’s house, the Marx Brothers, the mountains at seven in the morning leaving Salamanca, etc.

I don’t like: white Pomeranians, women in slacks, geraniums, strawberries, the harpsichord, Miró, tautologies, animated cartoons, Arthur Rubinstein, villas, the afternoon, Satie, Bartók, Vivaldi, telephoning, children’s choruses, Chopin’s concertos, Burgundian branles and Renaissance dances, the organ, Marc-Antoine Charpentier, his trumpets and kettledrums, the politico-sexual, scenes, initiatives, fidelity, spontaneity, evenings with people I don’t know, etc.

Mark Twain sent this letter to his wife and daughters from Montreal on Nov. 27, 1881. What does it mean?

A letter from William Cullen Bryant to his mother, Jan. 16, 1821:

Dear Mother:

I hasten to communicate to you the melancholy intelligence of what has lately happened to me.

Early in the evening of the eleventh day of the present month, I was at a neighbouring house in this village. Several people of both sexes assembled in one of the apartments — three or four others, together with myself were in another. At last came a little elderly gentleman, pale, thin, with a solemn countenance, a pleuritic voice, hooked nose, and hollow eyes. Presently we were summoned to attend in the room where he and the rest of the company were assembled. We went in, and took our seats; the little elderly gentleman with the hooked nose then prayed, and we all stood up. When he had finished, most of us sat down. The little elderly gentleman with the hooked nose then asked those who remained standing for something which he called a certificate … A paper was accordingly produced, inscribed with certain significant characters, upon which having mused a little while, he turned to us and pronounced several cabalistical expressions, which I was too much frightened to remember — but I recollect very well, that, at the conclusion, I was given to understand that I was married to a young lady of the name of Frances Fairchild, whom I perceived standing by my side, and whom I hope, in the course of the next few months, to have the pleasure of introducing to you as your daughter-in-law; which is a matter of some interest to the poor girl who has neither father nor mother in the world. …

I looked only for goodness of heart, an ingenuous and affectionate disposition, a good understanding &c. &c., and the character of my wife is too frank and single-hearted to suffer me to suppose the possibility of my being disappointed. — I misstate the matter — I did not look for these, nor any qualities — but they trapped me before I was aware, and now I am married in spite of myself. When we shall begin to keep house will depend, as everything else does, altogether upon circumstances.

Thus the current of destiny carries us all along. None but a madman would swim against the stream, and none but a fool would exert himself to swim with it. The best way is to float idly with the tide. …

Your affectionate son

W.C. Bryant

Adam Thirlwell’s 2012 novel Kapow! and Mark Z. Danielewski’s 2000 House of Leaves (above) are typeset unconventionally, with some text appearing in separate blocks, aslant, and even upside down.

To create his 2010 book Tree of Codes, Jonathan Safran Foer took Bruno Schulz’s 1934 short story collection The Street of Crocodiles and physically cut out most of the words to produce a new story.

Marc Saporta’s 1962 novel Composition No. 1 consists of 150 unbound pages that can be read in any order.

Anne Carson’s 2010 Nox is an accordion-folded facsimile of a handmade book of memories of her brother, including old letters, family photos, and sketches.

Holes have been cut in several of the pages in B.S. Johnson’s 1964 novel Albert Angelo, allowing the reader to glimpse events further ahead in the story.

The plot of Serbian novelist Milorad Pavić’s 1988 Landscape Painted With Tea is constructed like a crossword puzzle, with chapters that can be read “across” or “down.” “The solution of the puzzle is supposed to lead to the solution of life.”