John Barth used it in "Life Story" in Lost in the Funhouse, though some argue that it is Ambrose speaking from an extra-textual future, while Julio Cortazar used it in his stories "Graffiti" and "They Lay Down at Your Side." It can function intradiegetically or extradiegetically, based on whether or not it is used to designate a narratee on the same diegetic plane as the story or a reader who is meant to actually act. Carlos Fuentes's Aura is an 
John Barth used it in "Life Story" in Lost in the Funhouse, though some argue that it is Ambrose speaking from an extra-textual future, while Julio Cortazar used it in his stories "Graffiti" and "They Lay Down at Your Side." It can function intradiegetically or extradiegetically, based on whether or not it is used to designate a narratee on the same diegetic plane as the story or a reader who is meant to actually act. Carlos Fuentes's Aura is an example of the "complete-coincident" type, when it is actually a form of self address, as is its use in Bright Lights, Big City. Utilized prominently in Calvino's If on a Winter's Night a Traveler, FTP, name this narrative point of view associated with the pronoun "you."
John Barth used it in "Life Story" in Lost in the Funhouse, though some argue that it is Ambrose speaking from an extra-textual future, while Julio Cortazar used it in his stories "Graffiti" and "They Lay Down at Your Side."
{second person} point of view (prompt on “you” before said)