Donald Barthelme's Fiction


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"Molesworth studies Barthelme's progression, and regression, as ironist, humorist, and serious writer through all six original collections of short fiction: Come Back, Dr. Caligari (1964); Unspeakable Practices, Unnatural Acts (1968); City Life (1970); Sadness (1972); Amateurs (1976); and Great Days (1979). He also touches on two novels, Snow White and The Dead Father, and the "nonfiction" collection, Guilty Pleasures. Molesworth's study is an appropriate complement to Barthelme's latest collection, Sixty Stories, an anthology gathered from the fiction collections examined in this critical work. Molesworth demonstrates that Barthelme is a true innovator within the medium of the short story."--Jacket.




Literary Disruptions


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Critical Essays on Donald Barthelme


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The most comprehensive collection of essays ever published on the contemporary American writer who died at the age of 58 in 1989, this volume contains both a sizeable gathering of early reviews and a broad selection of more modern scholarship as well, including both reprinted articles and reviews and five original essays commissioned specifically for this volume. Annotation copyrighted by Book News, Inc., Portland, OR




The Contemporary Novel


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In this new edition, what was already an expansive work has been updated and further enlarged to include information not only on American and British novelists but also on writers in English from around the world.







American Humor


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Donald Barthelme


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Donald Barthelme (1931–1989) is regarded as one of the most imitated and influential American fiction writers since the early 1960s. In Donald Barthelme: An Exhibition, Jerome Klinkowitz presents both an appreciation and a comprehensive examination of the life work of this pathbreaking contemporary writer. A blend of close reading, biography, and theory, this retrospective—informed by Klinkowitz’s expert command of postmodern American fiction—contributes significantly to a new understanding of Barthelme’s work. Klinkowitz argues that the central piece in the Barthelme canon, and the key to his artistic method, is his widely acknowledged masterpiece, The Dead Father. In turning to this pivotal work, as well as to Barthelme’s short stories and other novels, Klinkowitz explores the way in which Barthelme reinvented the tools of narration, characterization, and thematics at a time when fictive techniques were largely believed to be exhausted. Klinkowitz, who was one of the first scholars to study Barthelme’s work and became its definitive bibliographer, situates Barthelme’s life and work within a broad spectrum of influences and affinities. A consideration of developments in painting and sculpture, for example, as well as those of contemporaneous fiction, contribute to Klinkowitz’s analysis. This astute reading will provide great insight for readers, writers, and critics of contemporary American fiction seeking explanations and justifications of Barthelme’s critical importance in the literature of our times.




Guilty Pleasures


Book Description

Few people associate law books with humor. Yet the legal world--in particular the American legal system--is itself frequently funny. Indeed, jokes about the profession are staples of American comedy. And there is actually humor within the world of law too: both lawyers and judges occasionally strive to be funny to deal with the drudgery of their duties. Just as importantly, though, our legal system is a strong regulator of humor. It encourages some types of humor while muzzling or punishing others. In a sense, law and humor engage a two-way feedback loop: humor provides the raw material for legal regulation and legal regulation inspires humor. In Guilty Pleasures, legal scholar Laura Little provides a multi-faceted account of American law and humor, looking at constraints on humor (and humor's effect on law), humor about law, and humor in law. In addition to interspersing amusing episodes from the legal world throughout the book, the book contains 75 New Yorker cartoons about lawyers and a preface by Bob Mankoff, the cartoon editor for the New Yorker.




Congressional Record


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