In his novel The Counterfeiters published in 1925, André Gide was employing a technique known as mise en abyme, literally ‘placed into abyss‘ by having a character in his novel with the same title. The term originally derives from heraldry, where it describes the conceivably infinite repetition of a miniaturized coat of arms within a coat of arms. It was Gide who, in 1893, first linked this phenomenon to literary and pictorial compositions [...] In his own works, Gide used the structure of the mise en abyme as a means of reflecting on the challenges posedby the fictionalization of modern life. Yet the mirroring oh his literary activities in the book also served as a means of contemplating on the creative share oft he reader in fiction. With various devices, for example the diversification of narrative and reflective passages, Gide disturbs the unity and illusion oft he text again, thus inevitably challenging the reader’s perspective on the story.