You can download the pdf version here.
The table of contents looks like this:
my mind was young and the barrier between reality and make-belief had not yet hardened into the shell that cocoons us in adult life. The barrier was soft, pliable and for a moment, thanks to the kindness of a stranger and the power of a good storytelling voice, I made the short journey — and returned.Let's put romanticism about childhood experience aside (Fforde exploits this cleverly in this passage, but it's not this rhetorical aspect I'm interested in here). What is the function of such explanations about the "barrier between reality and make-belief"? (Which are explanations, really, about the theory or metaphysics underlying the world of the book.) What do they help to achieve in the process of our consuming (or appreciating) fiction?
 Jasper Fforde, The Eyre Affair. London: Hodder and Stoughton 2001, 63.
 Both perception and imagination are incredibly complicated processes, which haven't been researched in all detail by cognitive science and other disciplines yet. A good starting point for reading up about the differences in phenomenology is Colin McGinn's Mindsight. Image, Dream, Meaning, Cambridge, MA: Harvard University Press 2004, especially chapter 1.
 It's also sometimes called fictional export. See for instance Christy Mag Uidhir and Allen Hazlett, "Unrealistic Fictions", in: American Philosophical Quarterly 48 (2011), 33–46. This seems to be a very helpful notion, but I have to read up more about it.