John Barth – författare

A National Book Award winner, this bawdy, comic trio of novellas finds John Barth injecting his signature wit into three tales many times told: that of Scheherazade, storyteller of the Thousand and One Nights; of Perseus, slayer of Medusa; and of Bellerophon, rider of Pegasus and slayer of the Chimera.

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.

John Barth, a moderately successful novelist just turned sixty, decides to take a sail on Chesapeake Bay with his wife, but a tropical storm forces them deep into the Maryland tidal marshes. Lost, Barth takes out his dinghy to search for a way home, but becomes embarked instead on a quest through the murkier regions of his own memory—a semi-memoir, staged as an operatic cruise through desire, vocation, despair, love, marriage, selves, and counterselves.

When John Barth’s Lost in the Funhouse appeared in 1968, American fiction was turned on its head. Barth’s writing was not a response to the realistic fiction that characterized American literature at the time; it beckoned back to the founders of the novel: Cervantes, Rabelais, and Sterne, echoing their playfulness and reflecting the freedom inherent in the writing of fiction.This collection of Barth’s short fiction is a landmark event, bringing all of his previous collections together in one volume for the first time. Its occasion helps readers assess a remarkable lifetime’s work and represents an important chapter in the history of American literature. Dalkey Archive will reissue a number of Barth’s novels over the next few years, preserving his work for generations to come.

John Barth, a moderately successful novelist just turned sixty, decides to take a sail on Chesapeake Bay with his wife, but a tropical storm forces them deep into the Maryland tidal marshes. Lost, Barth takes out his dinghy to search for a way home, but becomes embarked instead on a quest through the murkier regions of his own memory--a semi-memoir, staged as an operatic cruise through desire, vocation, despair, love, marriage, selves, and counterselves.

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 eighteenth-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 seventeenth 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