Abstract
Gabriel Josipovici’s “Mobius the Stripper” and J. M. Coetzee’s Diary of a Bad Year share one very distinct characteristic: both narratives employ horizontal bars to separate different veins of narrative. Yet, while Josipovici and Coetzee employ the lines for dif ferent purposes, the linguistic and visual play in the case of both fictions is the same. With help from Roland Barthes’s comments on the nature of sexiness and striptease, the nature of these horizontal lines becomes clearer: these horizontal bars represent the “unseen” narrative behind the visible narrative, the seductive underlying stories that tempt the reader to piece together the separate narrative veins.
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