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Where Three Roads Meet
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From the acclaimed John Barth, "one of the greatest novelists of our time" (Washington Post Book World) and "a master of language" (Chicago Sun-Times), comes a lively triad of tales that delight in the many possibilities of language and its users.
The first novella, "Tell Me," explores a callow undergraduate's initiation into the mysteries of sex, death, and the Heroic Cycle. The second novella, "I've Been Told," traces no less than the history of storytelling and examines innocence and modernity, ignorance and self-consciousness. And the three elderly sisters of the third novella, "As I Was Saying . . . ," record an oral history of their youthful muse-like services to (and servicings of) a subsequently notorious and now mysteriously vanished novelist.
Sexy, humorous, and brimming with Barth's deep intelligence and playful irreverence, Where Three Roads Meet will surely delight loyal fans and draw new ones.
John Barth is the author of numerous works of fiction, including The Sot-Weed Factor, The Tidewater Tales, Lost in the Funhouse, The Last Voyage of Somebody the Sailor, the National Book Award winner Chimera, and most recently The Book of Ten Nights and a Night. He taught for many years in the writing program at Johns Hopkins University.
"Teller, tale, torrid . . . Barth's seventeenth book brings these three narrative 'roads' together inimitably, and thrice. [Where Three Roads Meet] employs all of his familiar devices -- alliteration, shifts in diction and time, puns -- to tease and titillate, while at the same time articulate -- obliquely, sadly, angrily, gloriously -- a farewell to language and its us." -- Publishers Weekly, starred review
The first novella, "Tell Me," explores a callow undergraduate's initiation into the mysteries of sex, death, and the Heroic Cycle. The second novella, "I've Been Told," traces no less than the history of storytelling and examines innocence and modernity, ignorance and self-consciousness. And the three elderly sisters of the third novella, "As I Was Saying . . . ," record an oral history of their youthful muse-like services to (and servicings of) a subsequently notorious and now mysteriously vanished novelist.
Sexy, humorous, and brimming with Barth's deep intelligence and playful irreverence, Where Three Roads Meet will surely delight loyal fans and draw new ones.
John Barth is the author of numerous works of fiction, including The Sot-Weed Factor, The Tidewater Tales, Lost in the Funhouse, The Last Voyage of Somebody the Sailor, the National Book Award winner Chimera, and most recently The Book of Ten Nights and a Night. He taught for many years in the writing program at Johns Hopkins University.
"Teller, tale, torrid . . . Barth's seventeenth book brings these three narrative 'roads' together inimitably, and thrice. [Where Three Roads Meet] employs all of his familiar devices -- alliteration, shifts in diction and time, puns -- to tease and titillate, while at the same time articulate -- obliquely, sadly, angrily, gloriously -- a farewell to language and its us." -- Publishers Weekly, starred review
164 pages, Paperback
First published January 1,2005
This edition
- Format
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164 pages, Paperback
- Published
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December 4, 2006 by Mariner Books
- ISBN
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9780618773428
- ASIN
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0618773428
- Language
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English
About the author
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John Barth briefly studied "Elementary Theory and Advanced Orchestration" at Juilliard before attending Johns Hopkins University, received a bachelor of arts in 1951 and composed The Shirt of Nessus, a thesis for a Magister Artium in 1952.
He served as a professor at Penn State University from 1953. Barth began his career with short The Floating Opera, which deals with suicide, and The End of the Road on controversial topic of abortion. Barth later remarked that these straightforward tales "didn't know they were novels."
The life of Ebenezer Cooke, an actual poet, based a next eight-hundred-page mock epic of the colonization of Maryland of Barth. Northrop Frye called an anatomy, a large, loosely structured work with digressions, distractions, stories, and lists, such as two prostitutes, who exchange lengthy insulting terms. The disillusioned fictional Ebenezer Cooke, repeatedly described as an innocent "poet and virgin" like Candide, sets out a heroic epic and ends up a biting satire.
He moved in 1965 to State University of New York at Buffalo. He visited as professor at Boston University in 1972. He served as professor from 1973 at Johns Hopkins University. He retired in 1995.
The conceit of the university as universe based Giles Goat-Boy, a next speculative fiction of Barth comparable size. A half-goat discovers his humanity as a savior in a story, presented as a computer tape, given to Barth, who denies his work. In the course, Giles carries out all the tasks that Joseph Campbell prescribed in The Hero with a Thousand Faces. Barth meanwhile in the book kept a list of the tasks, taped to his wall.
The even more metafictional Lost in the Funhouse, the short story collection, and Chimera, the novella collection, than their two predecessors foreground the process and present achievements, such as seven nested quotations. In Letters, Barth and the characters of his first six books interact.
Barth meanwhile also pondered and discussed the theoretical problems of fiction, most notably in an essay, "The Literature of Exhaustion," first printed in the Atlantic in 1967, widely considered a statement of "the death of the novel" (compare with Roland Barthes's "The Death of the Author"). Barth has since insisted that he was merely making clear that a particular stage in history was passing, and pointing to possible directions from there. He later (1979) a follow-up essay, "The Literature of Replenishment," to clarify the point.
Barth's fiction continues to maintain a precarious balance between postmodern self-consciousness and wordplay on the one hand, and the sympathetic characterisation and "page-turning" plotting commonly associated with more traditional genres and subgenres of classic and contemporary storytelling.
He served as a professor at Penn State University from 1953. Barth began his career with short The Floating Opera, which deals with suicide, and The End of the Road on controversial topic of abortion. Barth later remarked that these straightforward tales "didn't know they were novels."
The life of Ebenezer Cooke, an actual poet, based a next eight-hundred-page mock epic of the colonization of Maryland of Barth. Northrop Frye called an anatomy, a large, loosely structured work with digressions, distractions, stories, and lists, such as two prostitutes, who exchange lengthy insulting terms. The disillusioned fictional Ebenezer Cooke, repeatedly described as an innocent "poet and virgin" like Candide, sets out a heroic epic and ends up a biting satire.
He moved in 1965 to State University of New York at Buffalo. He visited as professor at Boston University in 1972. He served as professor from 1973 at Johns Hopkins University. He retired in 1995.
The conceit of the university as universe based Giles Goat-Boy, a next speculative fiction of Barth comparable size. A half-goat discovers his humanity as a savior in a story, presented as a computer tape, given to Barth, who denies his work. In the course, Giles carries out all the tasks that Joseph Campbell prescribed in The Hero with a Thousand Faces. Barth meanwhile in the book kept a list of the tasks, taped to his wall.
The even more metafictional Lost in the Funhouse, the short story collection, and Chimera, the novella collection, than their two predecessors foreground the process and present achievements, such as seven nested quotations. In Letters, Barth and the characters of his first six books interact.
Barth meanwhile also pondered and discussed the theoretical problems of fiction, most notably in an essay, "The Literature of Exhaustion," first printed in the Atlantic in 1967, widely considered a statement of "the death of the novel" (compare with Roland Barthes's "The Death of the Author"). Barth has since insisted that he was merely making clear that a particular stage in history was passing, and pointing to possible directions from there. He later (1979) a follow-up essay, "The Literature of Replenishment," to clarify the point.
Barth's fiction continues to maintain a precarious balance between postmodern self-consciousness and wordplay on the one hand, and the sympathetic characterisation and "page-turning" plotting commonly associated with more traditional genres and subgenres of classic and contemporary storytelling.
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