John Barth and Postmodernism


Book Description

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.




Narrating Postmodern Time and Space


Book Description

Although Morrison, Doctorow, and Tabucchi vary in their stylisitic responses to these changes, their narratives propose a collective recovery of the past into a future-oriented present and serve as examples of how literature can intervene in history, rather than merely reflecting and acquiescing to it.




The Friday Book


Book Description

"...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.




John Barth


Book Description

John Barth represents most completely what has been termed postmodernism, not because his work comprises more postmodernist features than other contemporary writers but because, for Barth, "life" and "art" are two sides of the same coin. In this brief study, first published in 1987, Heide Ziegler examines all Barth's novels. She argues that each pair of novels first "exhausts" and then "replenishes" those literary genres that hinge on a particular world view: the existentialist novel, the Bildungsroman, the Kunstlerroman, or the realistic novel. Through the division of labour between character and author Barth manages to develop a new mode of literary parody which projects itself beyond the mocked literary model and even self-parody into the realm of future fiction. This book is ideal for students of literature and postmodern studies.




Lost in the Funhouse


Book Description

NATIONAL BOOK AWARD FINALIST • John Barth's lively, highly original collection of short pieces is a major landmark of experimental fiction exploring themes of purpose and the meaning of existence. "[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 From its opening story, "Frame-Tale"--printed sideways and designed to be cut out by the reader and twisted into a never-ending Mobius strip--to the much-anthologized "Life-Story," whose details are left to the reader to "fill in the blank," Barth's acclaimed collection challenges our ideas of what fiction can do. Highlights include the Homerian story-wthin-a-story-within-a-story (times seven) of "Menalaiad,' and "Night-Sea Journey," a first-person account of a confused human sperm on its way to fertilize an egg. All of the characters in Lost in the Funhouse are searching, in one way or another, for their purpose and the meaning of their existence. Together, their stories form a kaleidescope of exuberant metafictional inventiveness.




The Sot-Weed Factor


Book Description

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 18th-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 17th 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") plantation. He is also eventually given to believe that he has been commissioned by the third Lord Baltimore to write an epic poem, The Marylandiad. But things are not always what they seem. Actually, things are almost never what they seem. Not since Candide has a steadfast soul witnessed so many strange scenes or faced so many perils. Pirates, Indians, shrewd prostitutes, armed insurrectionists - Cooke endures them all, plus assaults on his virginity from both women and men. Barth's language is impossibly rich, a wickedly funny take on old English rhetoric and American self-appraisals. For good measure he throws in stories within stories, including the funniest retelling of the Pocahontas tale -revealed to us in the "secret" journals of Capt. John Smith - that anyone has ever dared to tell." —Time Magazine




Chimera


Book Description

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.”




Death in the Funhouse


Book Description

In contrast to recent attempts to distinguish postmodernism from poststructuralism, Death in the FUNhouse finds deep complicity between the two discourses. This book looks comprehensively at the middle and late texts of John Barth to demonstrate the complexity of the postmodern author - and the never-ending quest for pleasure.




International Postmodernism


Book Description

Containing more than fifty essays by major literary scholars, International Postmodernism divides into four main sections. The volume starts off with a section of eight introductory studies dealing with the subject from different points of view followed by a section that deals with postmodernism in other arts than literature, while a third section discusses renovations of narrative genres and other strategies and devices in postmodernist writing. The final and fourth section deals with the reception and processing of postmodernism in different parts of the world. Three important aspects add to the special character of International Postmodernism: The consistent distinction between postmodernity and postmodernism; equal attention to the making and diffusion of postmodernism and the workings of literature in general; and the focus on the text and the reader (i.e., the reader's knowledge, experience, interests, and competence) as crucial factors in text interpretation. This comprehensive study does not expressly focus on American postmodernism, although American interpretations of postmodernism are a major point of reference. The recognition that varying literary and cultural conditions in this world are bound to produce endless varieties of postmodernism made the editors, Hans Bertens and Douwe Fokkema, opt for the title International Postmodernism.




Coming Soon!!!


Book Description

In this novelistic romp that is by turns hilarious and brilliant, John Barth spoofs his own place in the pantheon of contemporary fiction and the generation of writers who have followed his literary trailblazing. Coming Soon!!! is the tale of two writers: an older, retiring novelist setting out to write his last work and a young, aspiring writer of hypertext intent on toppling his master. In the heat of their rivalry, the writers navigate, and sometimes stumble over, the cultural fault lines between print and electronic fiction, mentor and mentee, postmodernism and modernism.