One's enjoyment of this collection may very well hinge upon one's enthusiasm for the art of wordplay.

There is an abundance of truly clever portmanteuing on display here. Beneath the lexical prestidigitation lies a penchant for unconventional storytelling. Barth combines homages to classical mythology with post-modern shenanigans, and his creative use of the English language is a rare and delicious confection.

However, there are moments when his esoteric noodling will become completely inscrutable for more ordinary readers like yours truly.

The high-brow nature of some sections is truly remarkable, almost Rushmore-esque. Experimentation prevails throughout the retellings, reimaginings, and regurgitations of Greek tragedies, pseudo-Arabian tales, and a perplexing ménage a treize of Gulliverian travails.

He admits to having a preference for long-form fiction, and even in its condensed form, his voice is richly exuberant. My favorite example was the tangled tale of the Siamese twins, an illicit and unimaginable story told in a slippery and macabre bildungs-Geschichte.

If I had to describe the nested tales in just one word, it would be: ovoviviparous.

Permanentne nerd emoji + niezle gowno.

Postmodernizm do smieci. It seems that these words carry a certain sense of rebellion and dissatisfaction.

The use of the nerd emoji might imply a kind of self-identification or a nod to a particular subculture.

And the phrase "postmodernizm do smieci" could suggest a rejection or dismissal of postmodernism as something that is no longer relevant or valuable.

The statement "dalabym 1 gwiazdke ale rozumiem ze to bylo rewolucyjne" further emphasizes this complex attitude.

Perhaps the person is saying that they would give it one star, but they also understand that it was revolutionary in some way.

Overall, this text appears to be a reflection on the changing nature of art, culture, and society, and the role that different movements and ideas play within it.

It leaves the reader with a sense of ambiguity and a desire to explore these themes further.

Well, that’s time I’m not getting back.

The first 90 pages were decent. In fact, I’ll say I half enjoyed a couple of the chapters. They had some interesting ideas and engaging moments that kept my attention.

However, the last half was a long old slog. It felt like I was dragging myself through the pages, and I had to find ways to motivate myself. I started rewarding myself for every mini-milestone I reached in that book.

Maybe it was because the story lost its momentum or the writing became less engaging. Whatever the reason, it just wasn’t for me, I’m afraid. I don’t think I’ll be recommending this book to others.

I’m glad I gave it a try, but sometimes you have to know when to move on and find something that suits your taste better.

Like Donald Barthelme, he has been almost forgotten.

This is truly a pity in both cases, as they introduced an entirely distinct tone to American literature.

If you desire to read some "serious" literature without having to endure pompous solemnity and verbosity, this is precisely what you are seeking.

I chuckled and puzzled my way through it.

Quite simply, it is an astonishing reading experience. And, at just over 200 pages, it does not require a great deal of time to decode or interpret.

Barthes, light on his feet, learned, and mischievous, dances atop the literary "tradition" rather than merely parroting its tropes and methods.

There is also more than a hint of Rabelais in the mix, and the text crackles with energy.

Wow, this work truly moves.

It offers a refreshing and engaging alternative to the more traditional and often stuffy forms of literature.

Readers who are looking for something different and exciting should definitely give it a try.

You might be surprised by how much you enjoy it.

Marking this as read even though I skipped the last third of the book. I had high expectations for this one as it is well-reviewed and is supposed to be a part of the narrative theory/metalepsis canon. However, to my disappointment, it was extremely difficult to read and make sense of.

This book seemed more like a writing exercise rather than a meaningful piece of literature. The author's sole goal appeared to be packing in as many violations of the typical narrative structure as possible, without any regard for the substance or the message being conveyed.

As a result, I found myself getting nothing of value from this book. It failed to engage me on an intellectual or emotional level, and I was left feeling frustrated and unfulfilled. I would not recommend this book to anyone looking for a thought-provoking or enjoyable read.

This collection of short stories holds a significant position.

It is perhaps the most crucial, precise, and concise manifestation of the concepts of postmodernism and meta-fiction.

The best stories within it are "Night-Sea Journey", "Lost in the Funhouse", "Title", "Life Story", and "Anonymiad".

However, elements of genius can be discovered throughout all of them.

These 200 pages are among the smartest that you may ever have the opportunity to read.

Each story offers unique insights and challenges traditional narrative structures.

The collection invites readers to explore the boundaries of literature and engage with complex ideas in a thought-provoking manner.

Whether you are a fan of postmodernism or simply looking for something new and intellectually stimulating, this collection is sure to captivate and inspire.

It is a must-read for anyone interested in the evolution of literary forms and the exploration of new narrative possibilities.

I will now tell you why my life does not follow the established exposition of the narrative, its middle and climax. In my life, there are no clear-cut beginnings, middles, and climaxes as one might expect in a traditional story. Instead, it is a complex web of experiences, emotions, and events that unfold in a rather unpredictable manner.

My life has been filled with unexpected detours, sudden changes in direction, and moments of intense joy and profound sadness that do not neatly fit into a preconceived narrative structure. The middle of my life is not a smooth progression towards a climax, but rather a series of ups and downs, challenges and triumphs, that have shaped me into the person I am today.

Perhaps the reason my life does not follow the established narrative is because life itself is not a story with a predetermined plot. It is a constantly evolving journey, full of surprises and uncertainties, and it is up to us to make sense of it all and create our own meaning. So, instead of trying to force my life into a particular narrative, I choose to embrace the chaos and the beauty of it all, and see where this unpredictable journey takes me.

I have only read Lost in the Funhouse; the short story.

I must say that I strongly disliked it. The whole concept of constantly pulling the readers out of the enchanting world of the story just to make comments on seemingly irrelevant subjects really didn't sit well with me. It felt like a disruption to the flow and the magic that a good story should create. UH! I found myself constantly being jolted out of the narrative, and it made it difficult for me to fully immerse myself in the story. I think that a story should be allowed to unfold naturally without these unnecessary distractions. Maybe others might appreciate this style of writing, but for me, it was a big turn-off. I would much rather read a story that keeps me engaged from start to finish without these odd interruptions.

Hmmmmmmmm. Hmmmmmmmm. Hmmmmmmmm. Barth is engaged in a rather unique endeavor. It's as if he is performing surgery on himself, or perhaps representing himself in court. Or maybe it's something else entirely.

These stories have a certain functionality as stories, yet they also serve as a form of near academic criticism of the traditional storytelling convention. Through this criticism, Barth is rewriting the grammar of criticism and theory, and perhaps even the tradition itself.

There isn't much in the way of a traditional plot or well-developed characters. However, there is the author, who might be the most present character in every story ever written. Up until now, authors have used various tricks to hide themselves. But Barth's trick here is to do the opposite - not to hide.

This approach gave birth to an era of fiction that initially had a certain charm and sweetness in its infancy. However, as time went on, this era of fiction eventually took a turn and became less appealing. Nevertheless, in its early stages, it was truly something special.

This book is, without a doubt, extremely clever and well-written. I usually have a tendency to read "genre" books. However, I'm now branching out and reading a number of American literature pieces. This collection of short stories is one of the works I picked (by the recommendation of an iTunesU course).

Most of the stories in this collection are related to one another. One of my absolute favorites is the very first one: "Night-Sea Journey". At first glance, it appears to be the story of a fish. But upon reading it again, you'll discover that it's about something entirely different.

Another favorite of mine was "Anonymiad", which was actively entertaining. In contrast, some of the other stories were more enlightening than they were entertaining.

I firmly believe that the author intends to really make the reader question literature. What exactly makes a story? How is a story told? And how do we perceive stories? "Menelaiad" is an incredibly complex story that tells a story within a story within a story, and so on. It's a short story that demands a long time to read and requires a great deal of concentration.

If you have a penchant for really delving into the philosophy of storytelling, combined with experimental metafiction, then you will most likely enjoy this book. However, if your preference leans more towards swashbuckling adventure, then it's probably best to leave this one on the shelf.

«You can never tell how long a sentence will be until you reach the full stop.» — writes Bart. This statement holds a certain truth. It reflects the unpredictable nature of language and how a sentence can unfold in unexpected ways.

The canonical literature about literature and for the sake of literature. It serves as a valuable resource for those interested in exploring the depths of literary studies.

If you enjoy all these postmodernist games, when you read a text about how you are currently reading a text (and this is an interesting experience!), then this collection can be recommended to you. It offers a unique and engaging perspective on the reading process.

Moreover, Bart is sometimes very funny. For example, he says, «The urinal from beginning to end, I still had the habit of not just peeing on the beach or on the shore, but creating patterns and tricky symbols with my urine.» This humorous observation adds a touch of lightheartedness to his work.

P.S.: And it's good that we have Maxim Nesteruk, thanks to whom we can get acquainted with American postmodernism. His contributions have made it possible for us to explore this fascinating literary movement.

DNF September 2013

I truly despise this. I have a great aversion to most of the books that I was compelled to read for school and which were published within the time frame of 1910 to 1980. This particular experience was just dreadful. It seems that these books lack the engaging qualities and modern perspectives that I would have preferred. The language often feels archaic and the stories don't resonate with me on a personal level. I find myself struggling to get through them, and it's a real chore. I wish there were more contemporary and relevant books assigned for our studies. Maybe then, I would have a greater interest and enthusiasm for reading.