John Barth Libri

La mattina del 21 giugno 1937 Todd Andrews (un’avviatissima carriera di avvocato, una sobria vita borghese in una cittadina di mare del New England, un improbabile menage a trois con l’amico Harrison, erede di un impero dei sottaceti, e la graziosissima moglie di lui) si sveglia, si alza dal letto e guardandosi allo specchio scopre che la risposta a ogni suo problema è il suicidio. Vent’anni dopo, ancora vivo, racconta al lettore gli sviluppi di quella fatale giornata. Pubblicato originariamente nel 1956 e rivisto dallo stesso autore nel 1967, L’Opera galleggiante è considerato da molti il capolavoro di John Barth: spirito nichilista e humour nero, critica di costume e spunti metanarrativi si fondono in un romanzo sperimentale e godibilissimo che inaugurava la narrativa postmoderna e a quasi mezzo secolo di distanza nulla ha perso del suo smalto.

A National Book Award winner offers his most inventive novel to date. Journalist Simon Behler finds himself in the house of Sinbad the Sailor after being washed ashore during a sea-going adventure. Over the course of six evenings, the two take turns recounting their voyages in a brilliantly entertaining weave of stories within stories. "Filled with white nights and golden days . . . lyrical, fresh and sprightly."--Washington Post.

Considered by critics to be Barth's masterpiece, The Sot-Weed Factor has acquired the status of a modern classic. Set in the late 1600s, it recounts the wildly chaotic odyssey of hapless, ungainly Ebenezer Cooke, sent to the New World to look after his father's tobacco business & to record the struggles of the Maryland colony in an epic poem. On his mission, Cooke experiences capture by pirates & Indians; the loss of his father's estate to roguish impostors; love for a farmer prostitute; stealthy efforts to rob him of his virginity, which he's almost determined to protect; & an extraordinary gallery of treacherous characters who continually switch identities. A hilarious, bawdy tribute to all the most insidious human vices, The Sot-Weed Factor has lasting relevance for all readers.

"Here are tales of aging, time, possibility, and relationships. And in typically Barthian fashion, they are framed by the narration of a veteran writer, Graybard, and his flirtatious, insouciant muse, WYSIWIG (What You See Is What You Get). During the eleven days that follow September 11, 2001, Graybard and WYSIWYG debate the meaning and relevance of writing and storytelling in the wake of disaster, or TEOTWAW(A)KI - The End Of The World As We (Americans) Knew it."--Jacket

The Floating Opera and The End Of The Road are John Barth's first two novels.  Their relationship to each other is evident not only in their ribald subject matter but in the eccentric characters and bitterly humorous tone of the narratives. Both concern strange, consuming love triangles and the destructive effect of an overactive intellect on the emotions. Separately they give two very different views of a universal human drama. Together they illustrate the beginnings of an illustrious career.

Proving himself yet again a master of every form, Barth conquers in his latest the ruminative short essay—“​​jeux d’esprits,” as Barth describes them. These mostly one-page tidbits pay homage to Barth’s literary influences while retaining his trademark self-consciousness and willingness to play. 

As they cruise around Chesapeake Bay aboard their sailboat, Peter Sagamore and his very pregnant wife, Katherine, reveal the stories of their past and present.

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.

In CHIMERAJohn Barth injects his signature wit into the tales of Scheherezade of the Thousand and One Nights, Perseus, the slayer of Medusa, and Bellerophon, who tamed the winged horse Pegasus. In a book that the Washington Post called "stylishly maned, tragically songful, and serpentinely elegant, " Barth retells these tales from varying perspectives, examining the myths' relationship to reality and their resonance with the contemporary world. A winner of the National Book Award, this feisty, witty, sometimes bawdy book provoked Playboy to comment, "There's every chance in the world that John Barth is a genius."

In this outrageously farcical adventure, hero  George Giles sets out to conquer the terrible Wescac computer system that threatens to destroy his community in this brilliant "fantasy of theology, sociology, and sex" (Time).