Donald Barthelme – författare

This excellent collection of Donald Barthelme's literary output during the 1960s and 1970s covers the period when the writer came to prominence--producing the stories, satires, parodies, and other formal experiments that altered fiction as we know it--and wrote many of the most beautiful sentences in the English language. Due to the unfortunate discontinuance of many of Barthelme's titles, 60 Stories now stands as one of the broadest overviews of his work, containing selections from eight previously published books, as well as a number of other short works that had been otherwise uncollected.

This collection of pithy, brilliantly acerbic pieces is a companion to Sixty Stories, Barthelme's earlier retrospective volume. Barthelme spotlights the idiosyncratic, haughty, sometimes downright ludicrous behavior of human beings, but it is style rather than content which takes precedence.

'I said that although hanging Colby was almost certainly against the law, we had a perfect moral right to do so because he was our friend, belonged to us in various important senses, and he had after all gone too far.'Donald Barthelme is a puckish player with language, a writer of short but endlessly rewarding comic gems, a thinker and an experimenter. In these nine short stories, whether writing about a hairy, donkeyish king or a touching, private gesture of city-sized proportions, his is a surreal, deadpan genius.This book includes Some of Us Had Been Threatening Our Friend Colby, The Glass Mountain, I Bought a Little City, The Palace at Four A.M., Chablis, The School, Margins, Game and The Balloon.

"I Bought a Little City [is] a take on the role that a writer has in writing a story - playing god, in a certain way." Donald Antrim, novelist.'Got a little city, ain't it pretty'. Galveston, Texas, has been bought. It suits its new owner just fine. So he starts to change it. He creates a new residential area in the shape of a Mona Lisa jigsaw puzzle, shoots six thousand dogs, and reminds those who complain that he controls the jail, the police and the local chapter of the American Civil Liberties Union. But, playing God has its limitations, which he soon discovers when he starts to covet Sam Hong's wife. With Donald Barthelme's unmistakeable ability to blend absurdity and the recognisable details of ordinary life, this is an uncanny tale about urban planning, capitalism and God.

A glass mountain sits in the middle of a city and at the top sits a 'beautiful, enchanted symbol'. Seeking to disenchant it, the narrator must climb the mountain. Confronted by the jeers of acquaintances, the bodies of previous climbers and the claws of a guarding eagle he, slowly, begins to ascend. In true postmodernist form, subject and purpose collide as Donald Barthelme uses one-hundred fragmented statements to destabilise a symbol of his own - literature's conventional forms and practices. With a quest, a princess and an array of knights, Barthelme subverts that most traditional of genres, the fairy-tale; irony, absurdity, and playful self-reflexivity are the champions of this short story.

Witty, surreal, and endlessly inventive, Forty Stories is Barthelme at his finest-dismantling convention, bending language, and turning fiction into pure mischief.Donald Barthelme is a master of the unexpected, a writer who bends fiction into strange and exhilarating shapes. In Forty Stories, the companion to Sixty Stories, he delivers a dazzling collection of tales-each one a collision of wit, absurdity, and sharp social insight.With a signature postmodern style that blends pastiche, collage, and metafiction, Barthelme reinvents storytelling at every turn. He takes on subjects as varied as Paul Klee, Goethe, Captain Blood, modern courtship, marriage, divorce, and armadillos, but his true fascination lies in language itself-how it twists, contradicts, and reveals the absurdity of contemporary life. Packed with irony, surreal imagery, and deadpan humor, these stories probe authority, relationships, and existential anxieties, all while keeping the reader deliciously off-balance.At once playful and profound, fragmented yet deeply resonant, Forty Stories is a brilliant showcase of Barthelme's ability to subvert expectations and transform the ordinary into something extraordinary. For readers who crave fiction that defies convention, this collection is an invitation to experience storytelling at its most fearless.

Sixty Stories brings together Barthelme's most famous works and hidden gems-a dazzling, subversive collection where language bends, reality warps, and the absurd reigns supreme.With these subversive, razor-sharp stories, Donald Barthelme dismantles the familiar and rearranges it into something dazzlingly strange. Sixty Stories is a literary fun house where language is bent, meaning is slippery, and the absurd is never far from the truth.Here, the ordinary mutates into the uncanny-an enormous balloon hovers over the city, its purpose debated by those below; a classroom lesson spirals into something darker and more profound; two men locked in a Cold War bunker teeter on the edge of madness. Elsewhere, a friend struggles to coax the Phantom of the Opera out of his shadowy refuge, and an entire town is made up of nothing but churches.Barthelme moves effortlessly between deadpan satire, dream logic, and moments of startling beauty, crafting stories that are as unsettling as they are irresistible. Whether you're encountering his work for the first time or returning for another descent into his linguistic labyrinth, Sixty Stories is a testament to a writer who saw the world askew-and showed us how thrilling that could be.

In The King, a retelling of Le Morte D'Arthur, Donald Barthelme moves the chivalrous Knights of the Round Table to the cruelty of the Second World War. Dunkirk has fallen, Europe is at the breaking point, Ezra Pound and Lord Haw-Haw are poisoning the radio waves, Mordred has fled to Nazi Germany, and King Arthur and his worshipful Knights are deep in the fighting. When the Holy Grail presents itself--which is, in this version, the atomic bomb, "a superweapon if you will, with which we can chastise and thwart the enemy"--they must decide whether to hew to their knightly ways or adopt a modern ruthlessness. Barthelme makes brilliant comic use of anachronism to show that war is center stage in the theater of human absurdity and cruelty. But Arthur, in deciding to decline the power of the Grail, announces his unwillingness to go along: "It's not the way we wage war. The essence of our calling is right behavior, and this false Grail is not a knightly weapon."