John Barth


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Barth, John

(bärth), 1930–, American writer, b. Cambridge, Md. He attended Johns Hopkins (B.A. 1951, M.A. 1952), and, beginning in 1973, taught writing at its graduate school for nearly 20 years. Barth's postmodern novels—experimental, comic, self-referential, and often sprawling—reflect his anger and despair at a world he finds ludicrous and meaningless. While his early books were extravagantly praised, many critics have viewed his later work as verbose and bordering on incomprehensibility. Barth has a particular gift for parody. One of his best-known novels, The Sot-Weed Factor (1960), is set in 17th-century Maryland and deftly satirizes historical novels. His other fiction includes The Floating Opera (1956), The End of the Road (1958), Giles Goat-Boy (1966), Chimera (1972), Letters (1979), Sabbatical (1982), Once upon a Time (1994), Coming Soon!!! (2001), and the novellas of Where Three Roads Meet (2005). His four volumes of short fiction—the postmodern Lost in the Funhouse (1968), the love stories of On with the Story (1996), the stories and commentary in the aftermath of 9/11 in The Book of Ten Nights and a Night (2004), and the end-of-life stories of The Development (2008)—are also in his Collected Stories (2015).

Bibliography

See studies by C. B. Harris (1983) and E. P. Walkiewicz (1986).

Barth, John (Simmons)

(1930–  ) writer, educator; born in Cambridge, Md. He graduated from Johns Hopkins, where, during a long academic career, he joined the English faculty (1973). His novels, some set on Maryland's Eastern Shore, were distinctive for their formal ingenuity and an existential questioning bordering on nihilism. They include The End of the Road (1958), Chimera (1972, National Book Award), and Tidewater Tales (1988). A major exception was his second novel, The Sot-Weed Factor (1960), a long, playful parody written in the style of an 18th century novel.
References in periodicals archive ?
David Cohen, a well-respected newspaper columnist, has been offered the assignment of a lifetime: the opportunity to investigate Northland (published by AuthorHouse), the new novel by John Barth named after a city in Midwest America, a city which allows only white, Christian citizens to live in its city limits.
John Barth once likened postmodernism to tying a necktie simultaneous with providing a detailed explanation of the procedure while also discussing the history of neckties and still ending up with a perfect Windsor knot.
Novelist John Barth once wrote that "we all invent our past as we go along, at the dictate of whim and interest.
John Barth se terugkeer na die kortverhaal na 'n afwesigheid van die genre van byna 30 jaar word ingelui deur die verskyning van twee bundels kortverhale.
Bell argues convincingly that novelists such as Toni Morrison, Charles Johnson, Alice Walker, and Ishmael Reed are able to transcend the despair that enervates the work of writers such as Alain Robbe-Grillet, John Barth, and Ronald Sukenick because they can still tap into a vital tradition supplying potent spiritual and moral values as well as political energy.
The ground breaking ceremony takes place in the presence of Prime Minister Nikola Gruevski, along with John Barth, Chairman and CEO, John Fiori, Executive Vice President and President Johnson Controls International and other representatives of Johnson Controls.
When you've got a CEO as willing to jump on an airplane as Johnson Controls' John Barth, no corner of the world is safe from his inspection.
For, as John Barth writes in his essay "A Few Words about Minimalism," "There truly are more ways than one to heaven.
This one came not from the pen of John Barth or Philip Roth or David Foster Wallace, nor from one of our era's preening post-ironists, but from Helen Fielding, creator of the wildly popular Bridget Jones phenomenon.
In other news, the board of directors has elected John Barth, who serves as president and chief executive officer of the company, to chairman of the board, effective January 1.
But there is another type of romantic film that reminds me what one of my college professors, John Barth, wrote about love in his National Book Award-winning ``Chimera.
On these grounds, the work of John Barth and the later Calvino is categorized as "late modernist," while Morrison, Doctorow and Tabucchi are seen as fully postmodernist.