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Toni Morrison uses deconstruction in 'Beloved' by weaving together different time frames and perspectives, interrogating the assumptions of historical narrative and the representation of memory and identity.

John Fowles engages with deconstruction in 'The French Lieutenant's Woman' by offering multiple endings, direct authorial intervention, and playing with the reader’s expectations of Victorian novels.

Umberto Eco employs deconstruction in 'The Name of the Rose' by mixing genres, embedding a detective story within a historical novel and combined with semiotic theory, to question truth and the interpretation of texts.

Authored by David Foster Wallace, the novel 'Infinite Jest' employs deconstruction through its fragmented narrative, non-linear structure, and metafictional elements, challenging traditional plot structures and reader expectations.

Mark Z. Danielewski's 'House of Leaves' deconstructs traditional narrative through its unconventional page layout, footnotes, and multiple narrators, which disorient the reader and question the stability of the text itself.

Kurt Vonnegut's 'Slaughterhouse-Five' dissects the concept of time through its protagonist's non-linear life episodes, emphasizing the artificiality of the narrative structure and shedding light on the randomness of human experience.

Don DeLillo's 'White Noise' showcases deconstruction by blending high culture and low culture references, an ever-present sense of media saturation, and by questioning the nature of reality in the age of simulation.

Thomas Pynchon's 'The Crying of Lot 49' deconstructs the notion of meaning through its maze-like plot and proliferation of ambiguous symbols, which question the existence of a coherent interpretation.

Thomas Pynchon again with 'Gravity's Rainbow' undermines narrative conventions with its complex structure, an overwhelming abundance of characters, and its parodic elements, leaving readers with no single dominant interpretation.