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Books : Literature & Fiction : Authors, A-Z : ( B ) : Barth, John
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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" (Time ).
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The Floating Opera and The End Of The Road are John Barth's first two novels. Their relationship to each other is evident not only in their ribald subject matter but in the eccentric characters and bitterly humorous tone of the narratives. Both concern strange, consuming love triangles and the destructive effect of an overactive intellect on the emotions. Separately they give two very different views of a universal human drama.
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Barth's lively, highly original collection of short pieces is a major landmark of experimental fiction. Though many of the stories gathered here were published separately, there are several themes common to them all, giving them new meaning in the context of this collection.
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In this outrageously farcical adventure, hero George Giles sets out to conquer the terrible Wescac computer system that threatens to destroy his community in this brilliant "fantasy of theology, sociology, and sex" (Time).
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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."
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The Book of Ten Nights and a Night offers both a keen introduction to the genius of John Barth and a deeply human argument for the enduring value of literature. Gathering stories written throughout this postmodern master's long career, the collection spans his entire range of styles, from straightforward narrative to experimental metafiction. In the time immediately following September 11, 2001, the veteran writer Graybard spends eleven nights with a nubile muse named WYSIWYG (What You See Is What You Get). The two lovers debate the meaning and relevance of writing and storytelling in the wake of disaster, telling a new tale each night in the tradition of Scheherazade. The Book of Ten Nights and a Night exhibits the thrilling blend of playfulness and illuminating insight that have marked Barth as one of America's most distinguished writers.
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From the acclaimed John Barth, "one of the greatest novelists of our time" (Washington Post Book World) and "a master of language" (Chicago Sun-Times), comes a lively triad of tales that delight in the many possibilities of language and its users.
The first novella, "Tell Me," explores a callow undergraduate's initiation into the mysteries of sex, death, and the Heroic Cycle. The second novella, "I've Been Told," traces no less than the history of storytelling and examines innocence and modernity, ignorance and self-consciousness. And the three elderly sisters of the third novella, "As I Was Saying . . . ," record an oral history of their youthful muse-like services to (and servicings of) a subsequently notorious and now mysteriously vanished novelist.
Sexy, humorous, and brimming with Barth's deep intelligence and playful irreverence, Where Three Roads Meet will surely delight loyal fans and draw new ones.
John Barth is the author of numerous works of fiction, including The Sot-Weed Factor, The Tidewater Tales, Lost in the Funhouse, The Last Voyage of Somebody the Sailor, the National Book Award winner Chimera, and most recently The Book of Ten Nights and a Night. He taught for many years in the writing program at Johns Hopkins University.
"Teller, tale, torrid . . . inspiration: Barth's seventeenth book brings these three narrative 'roads' together inimitably, and thrice. [Where Three Roads Meet] employs all of his familiar devices -- alliteration, shifts in diction and time, puns -- to tease and titillate, while at the same time articulate -- obliquely, sadly, angrily, gloriously -- a farewell to language and its objects: us." -- Publishers Weekly, starred review
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"Tell me a story..." Katherine Shorter Sherritt Sagamore, 8 1/2 months pregnant, is a blue-blooded library scientist and founding mother of the American Society for the Preservation of Storytelling. Her husband Peter, 8 1/2 months nervous, is a blue-collar storyteller with a penchant for brevity. Sailing in the Chesapeake Bay, they tell each other tales to break the writer's block handed Peter by his Muse, to ease the weight of Katherine's pregnancy, to entertain, and to enlighten. Along with their stories, we learn of the Bay itself -- past and present. The beloved Chesapeake, where young Peter once indulged his Huck Finn fantasy, is in danger of becoming what he dubs a moral cesspool; where nature is in a losing struggle with man; where the hallowed Deniston School for Girls is being pressured by the CIA to sell land to the Soviet embassy; and where the old Sagamore homestead might or might not be the newest espionage station on the shoreline.
"The Tidewater Tales takes the form of a narrative encyclopedia, a pre-natal crash course in the politics, social life, literature, history, and mythology of late-twentieth century America... It sits... on the map of modern American fiction as a gigantic memorable construction." -- Jonathan Raban, Times Literary Supplement
"What is so moving about The Tidewater Tales is its frequent and frequently incidental richness as a love story -- marital, filial, domestic -- and also in its love of a place, of a country, even as place and country are scarred by depredation." -- William Pritchard, New York Times Book Review
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In a novelistic romp that is by turns hilarious and brilliant, John Barth, the dean of postmodern fiction, spoofs his own place in the pantheon of contemporary fiction and the generation of writers who have followed in the wake of his literary trailblazing.
Barth's first novel in ten years, 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. Inspired by a gently sinking showboat replica called The Original Floating Opera II, grounded on a shoal somewhere in Chesapeake Bay as a hurricane (and Y2K) approaches, they race each other to write a novel about a floating opera -- a reprise of the fictional mentor's first novel, of Barth's own first novel, of Edna Ferber's literary monument Show Boat and its spawn of musicals and films. 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.
At a time of intense renewed interest in postmodernism, COMING SOON!!! spotlights its legacy with the wit and irreverence that mark Barth as one of our most highly regarded writers. It is an extraordinary addition to, and a playful riff on, Barth's oeuvre, a series of books that have shaped contemporary literature.
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The wildly varied essays in Not-Knowing combine to form a posthumous manifesto of one of America’s masters of literary experiment. Here are Barthelme’s thoughts on writing (his own and others); his observations on art, architecture, film, and city life; interviews, including two previously unpublished; and meditations on everything from Superman III to the art of rendering “Melancholy Baby” on jazz banjolele. This is a rich and eclectic selection of work by the man Robert Coover has called “one of the great citizens of contemporary world letters.”
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A landmark of postmodern American fiction, LETTERS is (as the subtitle genially informs us) "an old time epistolary novel by seven fictitious drolls & 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.
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Since its founding in 1979, the Johns Hopkins Poetry and Fiction series has published forty volumes of short fiction, beginning with Guy Davenport's acclaimed Da Vinci's Bicycle. The series was launched with two guiding principles: to publish works of short fiction exhibiting formal excellence and strong emotional appeal and to publish writers at all stages of their careers.
So the Story Goes gathers the best short fiction of the series, works exhibiting wit, elegance, and wisdom. Writing about a wide variety of subjects and in a multitude of styles, the twenty writers collected here share a mastery of language and an extraordinary ability to entertain.
Ellen Akins from World Like a Knife, "Her Book"Steve Barthelme from And He Tells the Little Horse the Whole Story, "Zorro"Glenn Blake from Drowned Moon, "Marsh"Jennifer Finney Boylan from Remind Me to Murder You Later, "Thirty-six Miracles of Lyndon Johnson"Richard Burgin from Fear of Blue Skies, "Bodysurfing"Avery Chenoweth from Wingtips, "Powerman"Guy Davenport from Da Vinci's Bicycle, "A Field of Snow on a Slope of the Rosenberg"Tristan Davies from Cake, "Counterfactuals"Stephen Dixon from Time to Go, "Time to Go"Judith Grossman from How Aliens Think, "Rovera"Josephine Jacobsen from What Goes without Saying, "On the Island"Greg Johnson from I Am Dangerous, "Hemingway's Cats"Jerry Klinkowitz from Basepaths, "Basepaths"Michael Martone from Safety Patrol, "Safety Patrol"Jack Matthews from Crazy Women, "Haunted by Name Our Ignorant Lips"Jean McGarry from Dream Date, "The Last Time"Robert Nichols from In the Air, "Six Ways of Looking at Farming"Joe Ashby Porter from Lithuania, "West Baltimore"Frances Sherwood from Everything You've Heard Is True, "History"Robley Wilson from The Book of Lost Fathers, "Hard Times"
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Every Friday for many years, John Barth has exchanged his weekday fiction muse for a nonfiction one. He first collected the fruits of these labors in the critically acclaimed Friday Book and now, in Further Fridays, treats readers to a brilliant encore. This collection features a variety of reflections and ruminations that range as far as Barth's curiosity takes him. Each is a journey, but never quite the one expected one.
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a novel subtitled "a romance"
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From the National Book Award Winner and author of The Last Voyage of Somebody the Sailor comes a novel about a middle-aged writer setting off on a voyage with a sole crewmate--his lover, friend, and wife. Reprint. NYT. PW. 15,000 first printing.