John Barth and the Anxiety of Continuance Penn Studies in Contemporary American Fiction a Series Edited by Emoiy Elliott, University of California at Riverside

Total Page：16

File Type：pdf, Size：1020Kb

John Barth and the Anxiety of Continuance Penn Studies in Contemporary American Fiction A Series Edited by Emoiy Elliott, University of California at Riverside A complete listing of the books in this series appears at the back of this volume John Barth and the Anxiety of Continuance Patricia Tobin UM UNIVERSITY OF PENNSYLVANIA PRESS Philadelphia Copyright © 1992 by the University of Pennsylvania Press All rights reserved Printed in the United States of America I wish to thank Rutgers, The State University of New Jersey, for the released time and the Rutgers University Research Council for the financial support that contributed to the timely completion of this book; Nancy Miller for her patient retypings; and Mindy Brown for her assiduous care to the editing. Grateful acknowledgment is made to Harold Bloom and Oxford University Press for permission to quote from The Anxiety of Influence, Agon: Towards a Theory of Revisionimi, and A Map of Misreading, and to Henry R. Schwab Publishers for permission to quote from Bloom, Poetics of Influence. Grateful acknowledgment is made to John Barth for permission to quote from Lost in the Funhouse, Giles Goat-Boy, The End of the Road, the Sot- Weed Factor, The Floating Opera, and Chimera; to The Putnam Publishing Group for permission to quote from Barth, Sabbatical, A Romance, The Friday Book, and LETTERS; and to Little, Brown and Company for permission to quote from Barth, The Last Voyage of Somebody the Sailor. Library of Congress Cataloging-in-Publication Data Tobin, Patricia Drechsel, 1935- John Barth and the anxiety of continuance / Patricia Tobin. p. cm. — (Penn studies in contemporary American fiction) Includes bibliographical references and index. ISBN 0-8122-3093-0 1. Barth, John—Criticism and interpretation. I. Title. II. Series. PS3552.A75Z92 1992 813'.54—dc20 91-26900 CIP For my daughters, SHANNONand CAYLYN, who grew so beautifully out from under the influence during the course of this book's writing. .

Copy Link

Recommended publications

The Location of “The Author” in John Barth's LETTERS
The Author’s Metamorphosis: The Location of “the Author” in John Barth’s LETTERS Naoto KOJIMA Abstract 1979 年に発表されたジョン・バースの浩瀚な小説『レターズ』は、トマス・ピンチョンの『重力の虹』と並び、アメリカ文学におけるポストモダン小説の極点として考えられている。『レターズ』をリアリズムと（ポスト）モダニズム的言語実験との綜合を試みる小説とする議論を踏まえながら、この論文は、それ以前のバース作品に特徴的な自己言及的メタフィクションが問題とした、「作者」の位置についての矛盾との関係において『レターズ』の達成を捉える。そしてそのメタフィクションの矛盾からの脱却が、小説の構造的なレベルだけでなく物語内容のレベルにおいても、作中に登場する「作者」の正体を巡る謎解きのプロットとして表れていることを示す。手紙の書き手の一人である「作者」こそが、物語中での不在の息子ヘンリー・バーリンゲイム７世にほかならず、その両者がテクストの内部と外部を行き来する作者の「変身」によって特徴づけられているのである。従来の研究ではこの小説における「作者」の正体（と小説の構造との関係）を十分に突き止められてはおらず、その点でこの『レターズ』論は一つの新たな作品解釈の提示であり、同時に、小説における「作者」の位置づけを巡る考察でもある。 Key Words: author, metafiction, presence/absence, realism, postmodernism 1. Introduction John Barth is a highly self-conscious writer. From the beginning of his career, his fiction has shown a distinctive self-referential nature. In his first novel, The Floating Opera, Todd Andrews mourns the dilemma of writing his own story in a Tristram Shandy-like manner: “Good heavens, how does one write a novel! I mean, how can anybody stick to the story, if he’s at all sensitive to the significances of things?…[E]very new sentence I set down is full of figures and implications that I’d love nothing better than to chase to their dens with you, but such chasing would involve new figures and new chases, so that I’m sure we’d never get the story started, much less ended, if I let my inclinations run unleashed” (2). He realizes that it is impossible to tell the story completely. Telling a story holds an inevitable difference between the telling and the told. - 251 - His self-reflective fictions derive from this acknowledgement of painful resignation. In his career as a writer, Barth’s orientation toward a self-referential structure is inextricably interwoven with his failed effort to write an autobiographical novel.
[Show full text]
Speaking of Myth. an Interview with John Barth
SPEAKING OF MYTH. AN INTERVIEW WITH JOHN BARTH CRISTINA GARRIGÓS GONZÁLEZ Universidad de León John Barth is probably the most important American postmodemist author writing nowadays: The prime maximalist of American Fiction as some critics have called him. Bom in Cambridge, Maryland in 1930, he is the author of ten novéis - The Sot-Weed Factor (1960) or Letters (1980) among them - a series of short fictions {Lost in the Funhouse, 1968^, a volume of novellas (Chimera, 1972), and two collections of non-fiction {The Friday Book, 1984 and Further Fridays, 1995). His works Th? Floating Opera and Lost in the Funhouse were finalist for the National Book Award in fiction, which he won in 1973 mth Chimera. Interviews with Barth usually center around his last book, a work in process or his opinión on Postmodemism, a task to which he dedicated his two seminal essays "The Literature of Exhaustion" and "The Literature of Replenishment". But in this interview, conducted in León during a visit of the author to our country, Barth discusses his relationship with four literary figures, which he has acknowledged as the "four regnant deities in his personal pantheon."^ These icons are in literary-historical order Odysseus, Scheherazade, Don Quixote and Huckleberry Finn. For him, there is no fifth, yet. These figures have appeared recurrently in his works: as characters, as surrogates for them, and he has discussed widely their relevance in his work in his numerous essays. The admiration of Barth for these mythological icons, "the four compass-points of my narrative imagination" as he calis them, is not half-hazard.
[Show full text]
Heide Ziegler
Heide Ziegler John Barth: Ironischer Repräsentant der .Postmoderne' John Barth ist einer der bedeutendsten Vertreter der literarischen ,Postmoderne'. Der Ausdruck ,Postmoderne' hat sich nicht unwesent hch an seinem Werk entwickelt und diesem umgekehrt repr'.isentativen Charakter verliehen. Die Suche nach einer Konstante in Barths sich wan delnden intellektuellen Positionen und emotionalen Dispositionen zwischen 1955, dem Jahr als er seine ersten beiden Romane schrieb, und 1984, dem Jahr seiner bislang letzten Publikation, dürfte somit einer Suche nach dem potentiellen Kern dieses ambivalenten, sowohl experiment- als auch traditionsorientierten Zweigs der zeitgenössischen amerikanischen Literatur gleichkommen; und der Facettenreichtum von Barths Obsessionen - Grenzbestimmungen zwischen Imagination und Wirklichkeit, Geschichte und Mythos, Literatur und Gesellschaft - ist umgekehrt das Ergebnis der diesem Kern inhärenten Anregungsener gie. Immer wenn sich daher Barth die Frage stellt, was die .Postmoderne' eigentlich sei, sucht er in bewußtem Narzißmus das objektive Korrelat seiner selbst in einem vielfältig gebrochenen allgemeinen Spiegelbild. Barth definiert die Anfangs- und vorläufige Endphase seiner eige nen literarischen Entwicklung in zwei komplementären theoretischen Abhandlungen. Die Ausgangsposition beschreibt er in "The Litera ture of Exhaustion" (1967), einer inzwischen zu einem Manifest der ,Postmoderne' gewordenen Hommage a Jorge Luis Borges. Barth be wundert Borges, denn .. his artistlc vlctOry. if you Iike. is that he con fronts an intellectual dead end and employs it against itself to ac complish new human work". I Ähnlich sucht Barth selbst in The Sot Weed Factor (1960) und Gi/es Goat-Boy (1966) die Sterilität histo rischer, beziehungsweise metaphysischer Klischees genau durch deren exuberanten Einsatz ironisch zu entlarven und zugleich zu transzendieren. Barths vorläufige theoretische Endposition dagegen findet sich in "The Literature of Replenishment: Postmodernist Fiction" (1980).
[Show full text]
Ana-Maria DELIU Faculty of Letters, Babeș-Bolyai University Cluj-Napoca, Romania [email protected]
Ana-Maria DELIU Faculty of Letters, Babeș-Bolyai University Cluj-Napoca, Romania [email protected] TRANSGRESSIVE METAFICTION: DECONSTRUCTING WORLDS IN JOYCE’S ULYSSES AND BARTH’S LOST IN THE FUNHOUSE Abstract: The question “to what degree does metafiction construct and deconstruct worlds” generates a conceptual and paradigmatic rethinking of metafiction, based on the theoretical tools of possible worlds theory, especially fictional worlds. More specifically, to what degree does metafiction succeed in constructing a verisimilar possible world or, on the contrary, undress it of materiality and illusion of reality, turning rather to itself as a text (metafiction is self-conscious, auto-referential fiction, drawing attention to its mechanisms and its status as an artifact while a possible world is a world which is credible, ontologically different from ours only in being non-actualised). Moreover, in metafictions like James Joyce‟s Ulysses, or John Barth‟s Lost in the funhouse, deconstructing worlds means not only de-materialising worlds, turning to form in an extremely overt way, and moving from mimesis of product to mimesis of process, but also the French deconstruction praxis of denouncing structuralist dichotomy signified-signifier, thus loosing oneself in a network of signifiers which ultimately destroy the metaphysics of the signified. After poststructuralism murders the author, the latter revives as a practical fiction in a textual world of indecidables. Key words: fiction theory, transgressive metafiction, deconstruction, practical fiction, James Joyce, John Barth Dematerialisation and Deconstruction Firstly, I would like to mention that I wrote this study in relationship with another one published in the first issue of Metacritic Journal for Comparative Studies and Theory (50-60).
[Show full text]
An Analysis of Postmodernism in John Barth's Short Story
AN ANALYSIS OF POSTMODERNISM IN JOHN BARTH’S SHORT STORY “LOST IN THE FUNHOUSE” A THESIS BY ADAM ALEXANDER TAHIL REG. NO. 140705175 DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA AN ANALYSIS OF POSTMODERNISM IN JOHN BARTH’S SHORT STORY “LOST IN THE FUNHOUSE” A THESIS BY ADAM ALEXANDER TAHIL REG. NO. 140705175 SUPERVISOR CO-SUPERVISOR Drs.Parlindungan Purba M.Hum. Dra. Swesana Mardia Lubis, M.Hum. NIP. 19630216 198903 1 003 NIP. 195710021986012003 Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in p artial fulfillment of the requirements for the degree of Sarjana Sastra from Depart ment of English. DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA Approved by the Department of English, Faculty of Cultural Studies, University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination. Head Secretary Prof. T. Silvana Sinar, M. A., Ph. D Rahmadsyah Rangkuti, M.A., Ph. D. NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002 UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan. The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on Dean of Faculty of Cultural Studies University of Sumatera Utara Dr. Budi Agustono, M.S. NIP. 19600805 198703 1 001 Board of Examiners Rahmadsyah Rangkuti, M.A., Ph. D. Drs. Parlindungan Purba M.Hum.
[Show full text]
Literature in the Age of Science: Technology and Scientists in the Mid-Twentieth Century Works of Isaac Asimov, John Barth, Arthur C
LITERATURE IN THE AGE OF SCIENCE: TECHNOLOGY AND SCIENTISTS IN THE MID-TWENTIETH CENTURY WORKS OF ISAAC ASIMOV, JOHN BARTH, ARTHUR C. CLARKE, THOMAS PYNCHON, AND KURT VONNEGUT Peter A. Simes, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2010 APPROVED: Jacqueline Foertsch, Major Professor James Baird, Committee Member Walton Muyumba, Committee Member David Holdeman, Chair of the Department of English James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Simes, Peter A. Literature in the age of science: Technology and scientists in the mid-twentieth century works of Isaac Asimov, John Barth, Arthur C. Clarke, Thomas Pynchon, and Kurt Vonnegut. Master of Arts (English), August 2010, 82 pp., works cited, 29 titles. This study explores the depictions of technology and scientists in the literature of five writers during the 1960s. Scientists and technology associated with nuclear, computer, and space science are examined, focusing on their respective treatments by the following writers: John Barth, Kurt Vonnegut, Thomas Pynchon, Isaac Asimov, and Arthur C. Clarke. Despite the close connections between the abovementioned sciences, space science is largely spared from negative critiques during the sixties. Through an analysis of Barth’s Giles Goat-boy, Vonnegut’s Cat’s Cradle, Pynchon’s The Crying of Lot 49, Asimov’s short stories “Key Item,” “The Last Question,” “The Machine That Won the War,” “My Son, the Physicist,” and Clarke’s 2001: A Space Odyssey, it is argued that altruistic goals of space science during the 1960s protect it from the satirical treatments that surround the other sciences.
[Show full text]
John Barth's on with the Story
Journal of American Studies of Turkey 10 (1999) : 5-16. John Barth’s On with the Story: Stories and the Transformation of American Postmodernist Poetics Victoria Lipina-Berezkina “Endings, endings everywhere; apocalypses large and small.” It is with this subtle rhythmic allusion to a classical masterpiece (Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner”) that John Barth, theoretician and practitioner of American postmodernism, starts his latest book On with the Story: Stories (1996). The book- length story opens by creating an ironic situation of the “Last Lecture,” with the writer meditating wittily on current theories forecasting the death of postmodernism, these “apocalypses large and small” (15), and on all types of “endisms”—from the end of the artist to the end of the world. He is afraid, as John Keats was, that “he might cease to be before his pen had gleaned his teeming brain” (16). The writer’s new claim is “to rebegin” (14). And this is not only a linguistic joke. I suggest that On with the Story: Stories is the literary manifesto of postmodernism at the end of the century, and examine it in this article in order to engage in the considerable changes American postmodernist poetics has undergone. I argue that what Barth has created in On with the Story: Stories is in fact a “rebeginning” of the fundamental quest for Truth in art. His intertextual address to Keats’s “Ode on a Grecian Urn” (1820) with its basic theme—the tension between our painful sense of transience and our quest for the eternal; and among life, art and death—throws a light of particular importance on the quests of the twentieth-century art.
[Show full text]
Canada Du Canada Canadian Theses Service Service Des Theses Canadiennes
• ^ • National Library Bibliotheque nationale of Canada du Canada Canadian Theses Service Service des theses canadiennes Ottawa, Canada K1A0N4 NOTICE AVIS The quality of this microform is heavily dependent upon the La qualite" de cette microforme depend grandement de la quality of the original thesis submitted for microfilming. quality de la these soumise au microfilmage. Nous avons Every effort has been made to ensure the highest quality of tout fait pour assurer une qualite" sup6rieure de reproduc reproduction possible. tion If pages are missing, contact the university which granted S'il manque des pages, veuillez communiquer avec the degree. I'universite" qui a confe>6 le grade. Some pages may have indistinct print especially if the La qualite" d'impression de certaines pages peut laisser a original pages were typed with a poor typewriter ribbon or d^sirer, surtout si les pages originales ont 6te" dactylogra if the university sent us an inferior photocopy. phies a I'aide d'un ruban use" ou si I'universite" nous a fait parvenirune photocopie de qualite" inf6rieure. Reproduction in full or in part of this microform is governed La reproduction, m§me partielle, de cette microforme est by the Canadian Copyright Act, R.S.C. 1970, c. C-30, and soumise a la Loi canadienne sur le droit d'auteur, SRC subsequent amendments. 1970, c. C-30, et ses amendements subs6quents. NL-339 (r. 3B/04) c Canada Romancing Scheherazade: John Barth's Self-Perpetuating Narrative Machine From The Floating Opera Through Chimera. by Lahsen Ben Aziza Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Dalhousie University Halifax, Nova Scotia Canada June, 1991 (^ Copyright by Lahsen Ben Aziza, 1991.
[Show full text]
Literature, Self-Consciousness, and Writing: the Example of Barth's Lost in the Funhouse
Literature, Self-Consciousness, and Writing: The Example of Barth's Lost in the Funhouse STEVEN M. BELL, University of Kansas Self-consciousness in prose fiction—metafiction—was not invented yesterday.' John Barth, one of its champions in America, himself readily concedes its unoriginality, albeit hyperbolically and with tongue-in-cheek, as is his nature: "Self-conscious, vertiginously arch, fashionably solipsistic, unoriginal—in fact a convention of twentieth-century literature. Another story about a writer writing a story!"2 What such playful exaggeration does effectively point out is that, while the self-consciousness of much of today's prose fiction does not itself break new ground in the field of literature, in the history of man (which is nothing if not a history of consciousness), self-consciousness, specifically linguistic (and literary) self-consciousness, has never been so prevalent as in the present century: it has engulfed not only literature, but also history, philosophy, and the social or human sciences. The new focus is heralded by Jacques Derrida as follows: "However the topic is considered, the problem of language has never been simply one problem among others. But never as much as at present has it invaded, as such, the global horizon of the most diverse researches and the most heterogeneous discourses, diverse and heterogeneous in their intention, method, and ideology."3 John Barth's work in the field of prose fiction, from this perspective, does not stand alone, but can be tied to parallel developments in other fields, and can in effect be considered as one manifestation of a broader and more general problematic.
[Show full text]
Merging Identities and Multiple Interpretations in John Barth's
Merging Identities and Multiple Interpretations in John Barth’s “Night-Sea Journey” Abdulmomin Alrubaiee, Ph.D. ==================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 13:6 June 2013 ==================================================================== Courtesy: http://www.eng.fju.edu.tw/English_Literature/barth/#Biography Abstract The present article approaches John Barth’s “Night-Sea Journey”, a particular story from Lost in the Funhouse collection (1968), from different perspectives. Such postmodern themes as fluidity of identity, spatio-temporal ambiguity, and plurality of interpretations are detected in this analysis. As stated properly by Charles A. S. Ernst (2004), “Night-Sea Journey” in Barth’s corpus is “a functioning narrative within a single larger Barthian discourse” (2004: 1). While Ernst focuses mostly on the text as “an experimental reading strategy”, this paper unravels the writing, or better to say, the narrating strategies of Barth’s achievement. The objectives of this scrutiny are to show the inexhaustibility and responsiveness of this postmodern text to different readings, present the constructedness of interpretations, pinpoint the interdiscursivity of the text, and emphasize the role of ideology in the text. This paper draws its arguments on the theories of different disciplines; for the definition of a text, it deploys the notions of Roland Barthes. The narratological aspects of the analysis depend on the views of Rimmon-Kenan , Luc Herman and Bart Vervaeck. Language in India www.languageinindia.com ISSN 1930-2940 13:6 June 2013 Abdulmomin Alrubaiee, Ph.D. Merging Identities and Multiple Interpretations in John Barth’s “Night-Sea Journey” 437 Key words: postmodernism, textuality, Barthes, narratology Work to Text In his essay, "From Work to Text," Barthes clearly pinpoints the differences between both work and text and shows his interests lie with the text.
[Show full text]
Earth's the End of the Road - an Allegory of the Fictional Creation
EN IO JOSÉ DITTERICH Earth's The End of the Road - an Allegory of the fictional Creation Dissertação apresentada ao Curso de Pós- Graduação em Letras do Setor de Ciên- cias Humanas, Letras e Artes da Universi- dade Federal do Paraná para obtenção do grau de Mestre em Letras na área de Lite- raturas de Língua Inglesa. Orientadora: Prof.a Dr.a Brunilda Tempel, Reichmann CURITIBA Ï" 9 9 0 Dedico este trabalho a todos aqueles que, de alguma forma, con- tribuíram para sua consecução bem como a todos que se sentiram "rouba- dos" durante a sua realização, espe- cialmente Cida, Rafael e Wagner. AGRADECIMENTOS A Deus por mais um "talento" e a força de vontade em desenvolvö-1 o. - A orientadora, Profa. Dra. Bruni Ida Tempel Reichmann, pela amizade, apoio, orientação e bibliografia. - Aos professores de Curso de Pós-Graduação em Letras da UFPRj, e em especial à F'rofa. Dra. Sigrid Paula Rénaux pelos valiosos livros emprestados e á Profa. Dra. Anna Stegh Camatti pela prestatividade constante. - A Profa. Putin Buffara, pelo incentivo e bibliografia. - Ao Centro Federal de Educação Tecnológica do Paraná pela colaboração na realização do Curso. - Ao CNPq por seis meses de bolsa. ABSTRACT Through the present thesis we intend to demonstrate how the North-American writer John BARTH uses his fiction as a vehicle for his aesthetic and literary doctrines as well as his philosophical and moral interpretation of modern society. The .introduction provides a background of the post-war panorama in the United States of America, emphasising the changes that were happening, mainly in the literary field, where the nihilistic as well as existentialist doctrines would influence most young writers, including John BARTH.
[Show full text]
Proquest Dissertations
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. I.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When. a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
[Show full text]