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 . . . inspiration: 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 objects: us." -- Publishers Weekly, starred review

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.

For decades, acclaimed author John Barth has strayed from his Monday-through-Thursday-morning routine of fiction-writing and dedicated Friday mornings to the muse of nonfiction. The result is Final Fridays, his third essay collection, following The Friday Book (1984) and Further Fridays (1995). Sixteen years and six novels since his last volume of non-fiction, Barth delivers yet another remarkable work comprised of 27 insightful essays. With pieces covering everything from reading, writing, and the state of the art, to tributes to writer-friends and family members, this collection is witty and engaging throughout. Barth’s “unaffected love of learning” (San Francisco Examiner & Chronicle) and “joy in thinking that becomes contagious” (Washington Post), shine through in this third, and, with an implied question mark, final essay collection.

John Barth stays true to form in Every Third Thought, * written from the perspective of a character Barth introduced in his short story collection The Development.* George I. Newett and his wife Amanda Todd lived in the gated community of Heron Bay Estates until its destruction by a fluke tornado. This event, Newett notes, occurred on the 77th anniversary of the 1929 stock market crash, a detail that would appear insignificant if it were not for several subsequent events. The stress of the tornado's devastation prompts the Newett-Todds to depart on a European vacation, during which George suffers a fall on none other than his 77th birthday, the first day of autumn (or more cryptically, Fall). Following this coincidence, George experiences the first of what is to become five serial visions, each appearing to him on the first day of the ensuing seasons, and each corresponding to a pivotal event in that season of his life. As the novel unfolds, so do these uncanny coincidences, and it is clear that, as ever, Barth possesses an unmatched talent in balancing his characteristic style and wit with vivid, page-turning storytelling.

"Whether discussing modernism, postmodernism, semiotics, Homer, Cervantes, Borges, blue crabs or osprey nests, Barth demonstrates an enthusiasm for the life of the mind, a joy in thinking (and in expressing those thoughts) that becomes contagious... A reader leaves The Friday Book feeling intellectually fuller, verbally more adept, mentally stimulated, with algebra and fire of his own."--Washington PostBarth's first work of nonfiction is what he calls "an arrangement of essays and occasional lectures, some previously published, most not, most on matters literary, some not, accumulated over thirty years or so of writing, teaching, and teaching writing." With the full measure of playfulness and erudition that he brings to his novels, Barth glances into his crystal ball to speculate on the future of literature and the literature of the future. He also looks back upon historical fiction and fictitious history and discusses prose, poetry, and all manner of letters: "Real letters, forged letters, doctored letters... and of course alphabetical letters, the atoms of which the universe of print is made." "The pieces brought together in The Friday Book reflect Mr. Barth's witty, playful, and engaging personality... They are lively, sometimes casual, and often whimsical--a delight to the reader, to whom Mr. Barth seems to be writing or speaking as a learned friend."--Kansas City Star "No less than Barth's fiction these pieces are performances, agile, dexterous, robust, offering the cerebral delights of playful lucidity."--Richmond News Leader

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").

Barth's richest, most joyous novel yet describes a couple's journey on the Chesapeake Bay, a cruise that overflows with stories--of past lives and love, entanglements with the CIA and toxic waste, and inventive brushes with Don Quixote, Odysseus and Scheherazade.

The Floating Opera is a 1956 novel by the American writer John Barth. It chronicles one day in the life of Todd Andrews, a day on which he makes a very important decision. It was Barth's first novel.

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.

By the winner of the National Book Award and bestselling author of "The Tidewater Tales," three of the great myths of all time revisited by a modern master. Dunyazade, Scheherazade's kid sister, holds the destiny of herself and the prince who holds her captive. Perseus, the demigod who slew the Gorgon Medusa, finds himself at forty battling for simple self-respect like any common mortal. Bellerophon, once a hero for taming the winged horse Pegasus, must wrestle with a contentment that only leaves him wretched.

From one of our most celebrated masters, a touching, comic, deeply humane collection of linked stories about surprising developments in a gated community “I find myself inclined to set down for whomever, before my memory goes kaput altogether, some account of our little community, in particular of what Margie and I consider to have been its most interesting hour: the summer of the Peeping Tom.” Something has disturbed the comfortably retired denizens of a pristine Florida-style gated community in Chesapeake Bay country. In the dawn of the new millennium and the evening of their lives, these empty nesters discover that their tidy enclave can be as colorful, shocking, and surreal as any of John Barth’s fictional locales. From the high jinks of a toga party to marital infidelities, a baffling suicide pact, and the sudden, apocalyptic destruction of the short-lived development, Barth brings mordant humor and compassion to the lives of characters we all know well. From “one of the most prodigally gifted comic novelists writing in English today” (Newsweek), The Development is John Barth at his most accessible and sympathetic best.

Its first-person protagonist, Jacob Horner, suffers from nihilistic paralysis: an inability to choose a course of action. As part of a schedule of unorthodox therapies, Horner's nameless Doctor has him take a teaching job at a local teachers college. There Horner befriends the super-rational existentialist Joe Morgan and his wife Rennie, with whom he becomes entangled in a love triangle, with tragic results. The book deals with several issues that were controversial at the time, including racial segregation and abortion. (from wikipedia)

Barth's lively, highly original collection of short pieces is a major landmark of experimental fiction. Though many of the stories gathered here were published separately, there are several themes common to them all, giving them new meaning in the context of this collection.

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,...