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John Barth and Postmodernism
John Barth's eminence as a postmodernist is indisputable. However, much of the criticism dealing with his work is prompted by his own theories of «exhaustion» and subsequent «replenishment, » leaving his writing relatively untouched by theories of postmodernism in general. This book changes that by focusing on the relationship between Barth's aesthetic and the ideology critique of the historical avant-gardes, which were the first to mobilize art against itself and its institutional practices and demands. Examining Barth's metafictional parodies in the light of theories of space and subjectivity, Clavier engages the question of ideology critique in postmodernism by offering the montage as a possible model for understanding Barth's fiction. In such a light, postmodernism may well be perceived as a mimesis of reality, particularly a recognition of the collective nature of self and the world.
John Barth
In 1969, while David Morrell was writing First Blood, the novel in which Rambo was created, he also wrote his doctoral dissertation about acclaimed author, John Barth. In it, Morrell analyses Barth’s early fiction, using interviews with Barth, his agent, and his editors as well as several of Barth’s unpublished essays and letters to tell what Morrell calls “the story behind the stories, a biography of Barth’s fiction.” Over the years, scholars have found John Barth: An Introduction invaluable for its lengthy biographical sections, which Barth himself approved. Fans of Morrell’s fiction will find this book enlightening in terms of what Barth taught him about writing. CRITICAL REAC...
Chimera
In CHIMERAJohn Barth injects his signature wit into the tales of Scheherezade of the Thousand and One Nights, Perseus, the slayer of Medusa, and Bellerophon, who tamed the winged horse Pegasus. In a book that the Washington Post called "stylishly maned, tragically songful, and serpentinely elegant,” Barth retells these tales from varying perspectives, examining the myths’ relationship to reality and their resonance with the contemporary world. A winner of the National Book Award, this feisty, witty, sometimes bawdy book provoked Playboy to comment, "There’s every chance in the world that John Barth is a genius.”
Sot-Weed Factor
This is Barth's most distinguished masterpiece. This modern classic is a hilarious tribute to all the most insidious human vices, with a hero who is one of the most diverting . . . to roam the world since Candide. A feast. Dense, funny, endlessly inventive (and, OK, yes, long-winded) this satire of the eighteenth-century picaresque novel--think Fielding's Tom Jones or Sterne's Tristram Shandy--is also an earnest picture of the pitfalls awaiting innocence as it makes its unsteady way in the world. It's the late seventeenth century and Ebenezer Cooke is a poet, dutiful son and determined virgin who travels from England to Maryland to take possession of his father's tobacco (or sot weed) planta...
The Friday Book
"...The Friday Book was the first work of nonfiction by novelist John Barth, author of The Sot-Weed Factor, Giles Goat-Boy, and Chimera. Taking its title from the day of the week Barth would devote to nonfiction, the three dozen essays discuss a wide range of topics from the blue crabs of Barth's beloved Chesapeake Bay to weighty literary subjects such as Borges, Homer, and semiotics..."--www.amazon.com.
Letters
A landmark of postmodern American fiction, Letters is (as the subtitle genially informs us) "an old time epistolary novel by seven fictitious drolls and dreamers each of which imagines himself factual". Seven characters (including the Author himself) exchange a novel's worth of letters during a 7-month period in 1969, a time of revolution that recalls the U.S.'s first revolution in the 18th century - the heyday of the epistolary novel. Recapitulating American history as well as the plots of his first six novels, Barth's seventh novel is a witty and profound exploration of the nature of revolution and renewal, rebellion and reenactment, at both the private and public levels. It is also an ingenious meditation on the genre of the novel itself, recycling an older form to explore new directions, new possibilities for the novel.
Every Third Thought
John Barth stays true to form in Every Third Thought, written from the perspective of a character Barth introduced in his short story collection The Development. George I. Newett and his wife Amanda Todd lived in the gated community of Heron Bay Estates until its destruction by a fluke tornado. This event, Newett notes, occurred on the 77th anniversary of the 1929 stock market crash, a detail that would appear insignificant if it were not for several subsequent events. The stress of the tornado's devastation prompts the Newett–Todds to depart on a European vacation, during which George suffers a fall on none other than his 77th birthday, the first day of autumn (or more cryptically, fall). Following this coincidence, George experiences the first of what is to become five serial visions, each appearing to him on the first day of the ensuing seasons, and each corresponding to a pivotal event in that season of his life. As the novel unfolds, so do these uncanny coincidences, and it is clear that, as ever, Barth possesses an unmatched talent in balancing his characteristic style and wit with vivid, page–turning storytelling.
The Floating Opera and The End of the Road
From the author of National Book Award-nominated Lost in the Funhouse • John Barth's first two novels are both existential comedies featuring strange, consuming love triangles and the destructive effects of an overactive intellect on the emotions. "[Barth] ran riot over literary rules and conventions, even as he displayed, with meticulous discipline, mastery of and respect for them." —The New York Times The relationship between these two darkly comic novels is evident not only in their ribald and philosophical subject matter but in their eccentric characters and bitterly humorous tone. The protagonist of The Floating Opera is Todd Andrews, an orphaned war veteran who has been sleeping wi...
The Floating Opera
Written when John Barth was 24 years old, The Floating Opera is his first novel, published in 1957. It is a first-person reminiscence of the day Todd Andrews decided to commit suicide. Having picked up some sense of the French Existentialist writers from the postwar Zeitgeist, this novel questions life's value through the eyes of a 37-year-old man.
