You can also read responses to his essay by Colum McCann, A.L. Kennedy, Andrew Miller, Edmund White and John Banville, here.
Photograph by Pumiceous
John Barth discusses discovering William Faulkner and Lawrence Sterne as a student, the parallels between writing and arranging music, what happened to postmodernism and waiting for the muse to call.
You can also read responses to his essay by Colum McCann, A.L. Kennedy, Andrew Miller, Edmund White and John Banville, here.
Photograph by Pumiceous
‘I think there should be a National Service of Hospitality. The best way to see the true face of humanity is to serve it a plate of chips.’
Camilla Grudova on bad-mannered customers.
‘Anyone who has ever worked night shifts will understand the vertiginous feeling that comes with staring down the day from the wrong end.’
A.K. Blakemore on working nights.
‘I was constantly reading job ads, trying to find my holy grail – a job I could stand to do, and someone foolish enough to hire me.’
Sandra Newman on learning how to play professional blackjack.
‘I loved being a receptionist. What I loved about it was playing the part of being a receptionist.’
Emily Berry on being a temporary office worker.
‘Every part of you would swell, including your eyeballs, and no matter how much water you drank, you were always dehydrated.’
Junot Díaz on working for a steel mill.
John Barth’s fiction has won the National Book Award, the PEN/Malamud Award for Excellence in Short Fiction, the F. Scott Fitzgerald Award and the Lannan Foundation Lifetime Achievement Award. He is a professor emeritus in the Writing Seminars at Johns Hopkins University. His novels include The Floating Opera (1956), The Sot-Weed Factor (1960) and The Tidewater Tales (1987). His collections of short stories include Lost in the Funhouse (1968) and On with the Story (1996). His most recent novel is Every Third Thought: A Novel in Five Seasons (2011).
More about the author →'I suggest he put aside all his writing rituals and that he give away all his money – that way he might find his talent will be rebooted.'
‘What do you do when your daily routine comes to a halt, when your latest achievement just might be your last?’
‘Everything we do in art is likely to turn out to be either prophecy or exorcism, whatever its other intentions.’
‘What had formerly been a sedative, a tranquilizing soporific, had morphed into a facilitator of reflection, contemplation, deliberation, even inspiration.’
In the latest Granta Podcast, John Barth – one of the pioneers of American literature...
Jean Frémon on the artist Louise Bourgeois and her fascination with spiders. Translated from the French by Cole Swensen.
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