Literary Work
Barth began his career with The Floating Opera and The End of the Road, two short "realist" novels that deal wittily with controversial topics, suicide and abortion respectively. They are straightforward realistic tales; as Barth later remarked, they "didn't know they were novels."
The Sot-Weed Factor (1960), was initially intended as the completing novel of a trilogy comprising his first two "realist" novels, but, as a consequence of Barth's maturation as a writer, it developed into a different project. The novel is significant as it marked Barth's discovery of Postmodernism.
Barth's next novel, Giles Goat-Boy (about 800 pages), is a speculative fiction based on the conceit of the university as universe. A boy raised as a goat discovers his humanity and becomes a savior in a story presented as a computer tape given to Barth, who denies that it is his work. In the course of the novel Giles carries out all the tasks prescribed by Joseph Campbell in The Hero with a Thousand Faces. Barth kept a list of the tasks taped to his wall while he was writing the book.
The short story collection Lost in the Funhouse (1968) and the novella collection Chimera (1972) are even more metafictional than their two predecessors, foregrounding the writing process and presenting achievements such as a seven-deep nested quotation. Chimera shared the U.S. National Book Award for Fiction.
In the novel LETTERS (1979), Barth interacts with characters from his first six books.
His 1994 Once upon a Time: A Floating Opera, reuses stock characters, stock situations and formulas.
Read more about this topic: John Barth
Famous quotes containing the words literary work, literary and/or work:
“I understood that all the material of a literary work was in my past life, I understood that I had acquired it in the midst of frivolous amusements, in idleness, in tenderness and in pain, stored up by me without my divining its destination or even its survival, as the seed has in reserve all the ingredients which will nourish the plant.”
—Marcel Proust (1871–1922)
“... the Ovarian Theory of Literature, or, rather, its complement, the Testicular Theory. A recent camp follower ... of this explicit theory is ... Norman Mailer, who has attributed his own gift, and the literary gift in general, solely and directly to the possession of a specific pair of organs. One writes with these organs, Mailer has said ... and I have always wondered with what shade of ink he manages to do it.”
—Cynthia Ozick (b. 1928)
“Where the whole man is involved there is no work. Work begins with the division of labor.”
—Marshall McLuhan (1911–1980)