Donald Barthelme has achieved his present eminence as one of the leading popular innovators in American fiction through the pages of the New Yorker magazine, where he began publishing in 1963. But, al...
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Two years after Donald Barthelme's death, his friend Robert Coover observed that his name had achieved a new currency as an adjective: the term "Barthelmesque," Coover wrote, refers not only to a styl...
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Critical Essay by Alfred Kazin
[Barthelme] is one of the few authentic examples of the "antinovelist"—that is, he operates by countermeasures only, and the system that is his own...
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Critical Essay by Richard Howard
In the polysynthetic languages, linguists tell us, a certain world will mean "to throw a slippery object far away," though no part of the word means ...
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Critical Essay by Denis Donaghue
Donald Barthelme is more attracted to the indisputable charm of brevity than to the disputable charm of narration. If he has a design upon us, it is that we will be r...
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Critical Essay by James Rawley
[Donald Barthelme's] Great Days, is about success. "Yes, success is everything," says one of his characters, or rather one of his half embodied, ha...
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Critical Essay by Alan Wilde
[The] obstinate triviality of life increasingly impinges on the literary consciousness…. The modernist sensibility, haunted by a vision of pervasive grayness and (...
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Critical Essay by Eric S. Rabkin
Donald Barthelme shows us, again and again, that he has a way with words: the way of a stone-cutter. With a deft and dangerous whack at the raw language he suddenly r...
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Critical Essay by Betty Catherine Dobson Farmer
[The human-god-mechanical Dead Father character of Barthelme's Dead Father] offers a multi-faceted study in ambiguity. The Dead Father is ...
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Critical Essay by Robert Towers
I doubt that Donald Barthelme's new collection [Great Days] will alter significantly anyone's perception of this accomplished miniaturist. His admirers c...
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Critical Essay by Diane Johnson
["Great Days"] is bare Barthelme at his best, quite inimitable, with a new kind of calm confidence, a new depth of subject, and no pictures. And, one hop...
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Critical Essay by Jerome Klinkowitz
Barthelme's new collection of short fiction, aptly titled "Great Days," is built on [the] notion of routines and how to play them….
...
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Critical Essay by Joe David Bellamy
When we look back on this period, will the work of Donald Barthelme seem the forerunner of a whole new variety of consciousness or merely a particularly skilled an...
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Critical Essay by Marc Granetz
Barthelme's art is not static. He is an explorer of prose forms. He stays abreast of literary developments in America and elsewhere and his fiction constantly ch...
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Critical Essay by Maclin Bocock
[What some] critics fail to notice is that Barthelme does not confine himself to the recording of public insanities. He has, in fact, been more concerned with private ...
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Critical Essay by Jerome Klinkowitz
Barthelme presents, within the outward shapes of familiar words, bold, strange, and terrifying ones, which shock us into a new awareness of his fictional world. In...
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Critical Essay by Carey Horwitz
[Sixty Stories] begins with five from Come Back, Dr. Caligari (1964) and continues through nine recent, uncollected pieces. It's a good time for this collection...
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Critical Essay by John Romano
It's pleasant to recall the groundswell of excitement caused among readers by the publication of Donald Barthelme's first short stories in the 60's....
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Critical Essay by Charles Newman
Donald Barthelme is our most imitated writer today, fully as much as J. D. Salinger was twenty years ago—which is only to say that one index of genius is the e...
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Critical Essay by Samuel Coale
In a recent interview in The New York Times, Donald Barthelme said of his art: "I grew up with disjunction … the world was turning upside down … Mo...
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Critical Essay by Lois Gordon
Any discussion of Donald Barthelme's comedy necessitates the backdrop of contemporary thought, because Barthelme's characters, and their world, are among t...
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In the following essay, Longleigh provides an analysis of Barthelme's treatment of the title character as an anti-heroine in Snow White.
As an archetypal heroine (counterpart of the anti-her...
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In the following essay, Zeitlin studies the role of psychoanalysis and Freudian theory in Barthelme's works.
Here is another absurd dream about a dead father.
...
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In the following essay, Malmgren presents a detailed, thorough examination of The Dead Father.
PRETEXT: Our presentation consists of two kinds of commentaries:
LECT: Readings—descriptive...
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The following is a negative assessment of Not-Knowing: The Essays and Interviews of Donald Barthelme.
What Thomas Pynchon called "Barthelmismo" is somewhat lacking in [Not-Knowing: Th...
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In the following essay, Schmitz examines Barthelme's satirical treatment of language in his works.
"Oh God comma I abhor self-consciousness," declares the narrator of "T...
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In the following interview, Barthelme discusses his life, his literary influences, his views on language and literature, and his works.
[McCaffery:] You've published two novels, but most of ...
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In the following essay, Achilles traces Barthelme's use of elements from the German film Das Cabinet des Dr. Caligari in his works, examines various other themes employed by Barthelme, and note...
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In the following essay, Morace analyzes Snow White as a work of experimental fiction.
Delight in formal experimentation is one characteristic of much of our contemporary American fiction. Another, ...
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In the following essay, Olsen illustrates how Barthelme transforms elements of physical comedy into linguistic humor in his works.
Why does language subvert me, subvert my seniority, my medals, my...
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In the following essay, O'Donnell illustrates how Barthelme comments on various aspects of contemporary life and society in Paradise.
Shall ou...
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In the following review, Marcus offers a commendatory assessment of The Teachings of Don B.
At a glance, this collection of material by Donald Barthelme—who died of cancer in 1989, at the ag...
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In the following essay, originally published in 1977, Dickstein regards Barthelme's City Life as the apotheosis of fictional experimentation and ingenuity and compares it to other innovative fi...
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In the following essay, Baxter traces Barthelme's literary development, focusing on his utilization of characters and language.
The same day that a friend called with the news that Donald Ba...
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In the following essay, Campbell considers the connection between Barthelme's “The Sandman,” E. T. A. Hoffmann's tale “The Sandman,” and Sigmund Freud'...
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In the following essay, Trachtenberg provides a thematic overview of Barthelme's short fiction.
Art, Barthelme insists, cannot not think of the world.1 Accordingly, in his fiction, the funct...
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In the following essay, McHale and Ron describe the difficulties of collaborating on a close reading of “The Indian Uprising.”
The writer is a man who, embarking upon a task, does not...
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In the following essay, Klinkowitz surveys Barthelme's later short fiction, maintaining that these stories “are more relaxed and more generously entertaining, with as many comic effects ...
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In the following excerpt, Roe surveys Barthelme's later fiction and reflects on his legacy as a short fiction author.
Mortal Visions “visitors”
In 1981, when Barthelme turned 5...
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In the following essay, Stengel analyzes three representative stories from Amateurs in order to differentiate Barthelme's early and later short fiction and to explore the relationship between i...
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In the following essay, Bruss explores the suspension of self and the roles of narrative style and irony in Barthelme's short fiction.
One of Barthelme's early short stories contains ...
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In the following essay, Gordon surveys the dominant thematic concerns of Barthelme's first short story collection, Come Back, Dr. Caligari.
The first collection introduces many of Barthelme&...
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In the following review, Brown views Sixty Stories as a welcome overview of Barthelme's work and “gives ample evidence that contemporary writing and stories of this kind defy capsule des...
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In the following essay, Couturier and Durand analyze the different forms of transaction and discourse in Barthelme's short fiction.
Barthelme's fiction—rather like Beckett...
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In the following excerpt, McCaffery focuses on the “metafictional interests” of Barthelme's short fiction.
The final possibility is to turn ultimacy, exhaustion, paralyzing sel...
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In the following essay, Molesworth examines the defining characteristics of Barthelme's short stories.
About fifty years ago, Elizabeth Bowen, in her introduction to the Faber Book of Modern...
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In the following essay, Stengel discusses Barthelme's twelve art stories, which evaluate the role of art and of the artist in contemporary life.
[This essay] examines Barthelme stories that ...
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In the following essay, Domini explores Barthelme's modern consciousness through an examination of his short stories.
“Barthelme has managed to place himself,” William Gass onc...
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In the following essay, Halden looks at Donald Barthelme's Snow White both as a traditional fairy tale and as an inversion of established fairy-tale symbolism.
A close examination of Donald ...
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Last month was Scott Moyersâ first as a literary agent, and by the end of it he had sold four books: a study of the American labor movement by the historian Philip Dray; a cultural...
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