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 ?
Turski, Marcin 1995 "John Barth's playful treatment of history in The sot-weed factor", Studia Anglica Posnaniensia 29: 165-172.
(20.) In the original manuscript draft of The Floating Opera, Todd calls Jarman James "an avid negro-hanger, whom I detested for no particular reason" (John Barth Papers carton 1, folder ch.
The archetypal modernist work is a failure, perhaps like John Barth's short story, "Lost in the Funhouse," which (successfully?) depicts the impossibility of writing a successful short story.
Esta se ocupa de comparar el pensamiento paciano con las filosofias posmodernas del mundo anglosajon (John Barth y Donald Barthelme), y aleman, especialmente de Jurgen Flabermas y se ocupa a veces de la ideologia politica del autor al igual que la siguiente seccion.
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.
John Barth's first novel, The Floating Opera, has received more varied critical attention, ironically enough, than his more sophisticated, self-regarding works that court this kind of "indeterminacy." Although Barth's later works have drawn a number of poststructuralist admirers, they have attracted fewer of the Marxist, Freudian, feminist, or existentialist readings than have his first two realist novels.
(1.) In June 2003, at the point of compiling this issue of Diogenes, the same four questions were posed to Denis Sinor, Gay McDougall, Earl Shorris and John Barth. Their responses are published here as Interludes 1-4.
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.
Coming Soon!!!,by John Barth (AtlanticBooks pounds 8.99)
His is a neo-Marxian deconstruction of the dynamic interplay between longing and repression, as manifested in selected novels of Theodore Dreiser, Willa Cather, Nathanael West, Ernest Hemingway, and John Barth.