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Contents
1. fs Let us talk about giraffes said Thomas when I explain myself tend to stutter I will give you short form Thomas said the basic datatata I was bbbbbbborn twice twenty less one year ago in a great city the very city in fact from which we have subtracted you As a new creature on the earth I was of course sent to school where I did reasonably well except where I did reasonably badly As a child I had the necessary sicknesses seriatim a pox here a measle there broke a bone now and then just to keep up in step with the others blacked an eye and had an eye blaked now and then just to keep up with the others 56 57 stutter2. Barthelme manual Ee are es AD cuss 9 E AATA AS Scatterpatter 7
3. RO DF DHT 1 Bot
4. No 19 1993 3 To COM Rls a a ERAO
5. BOA EnA Thomas Julie Thomas 2 9
6. 1 DED Thomas 2
7. 4 Jacques Lacan crits A Selection trans Alan Sheridan New York Norton 1977 8 RRO RL the Name of the Father Eva Tavor Bannet Structuralism and the Logic of Dissent Barthes Derrida Foucault Lacan Urbana U of Illinois P 1989 19 2 7 ant eee 10 11 12 13 11 52 53 i Robert Con
8. No one can remember when he was not here in our city positioned like a sleeper in truobled sleep a 2 The countryside Flowers Cree
9. 1 Ta gt No one can remember when he was not here in our city positioned like a sleeper in troubled sleep the whole great expanse of him running from the Avenue Pommard to the PNA R No 19 1993 3 Boulevard Grist Overall 3 200 cubits Half buried in the ground half not At work ceaselessly night and day through all the hours for the good of all 4 5 T OR 2 3200 ae a
10. 1 Thomas HZ
11. DD Thomas Pynchon 1 1991 9 1
12. ELTU 2 A oe Thomas hacen T the dream of a stutterer
13. ZT DF Harold Bloom The Anxiety 14 15 16 17 ee eee of Influence New York Oxford UP 1973 amp 4 21E anxiety Barthelme Z DF 75 Bloom 73 2 Cheryl Herr Fathers Daughters Anxiety Fiction Disconted Discourses Feminism Textual Intervention Psychoanalysis ed Marleen S Barr and Richard Feldstein Urabana U of Illinois P 1989 173 207 Finnegans Wake 1985 152 A Manual for Sons DF 14 137 149 A Manual for Sons 2
14. _ Barthelme withdraw Jeanette McVicker MOM DRA b ET KA OEE LABORS marginal 1
15. Thomas Julie AKT DE Thomas Julie
16. ARALL T NO 1 7 FLT b
17. Donald Barthelme The Dead Father R SAIC BV COI 20 2 VLERAD OPERA 60 70 1 70 89 4
18. 7 SEAL Se E ABD Hutcheon parody ridiculing intention repetition with critical distance Barthelme T Snow Wite DF lt
19. Hutcheon Hutcheon It historiographic metafiction does not so much deny as contest the truths of reality and fiction the human constructs by which we manage to live in our world There is no pretense of simplistic mimesis in historiographic fiction Instead fiction is offered as another of the discourses by which we construct our versions of reality and both the construction and the need for it are what are foregrounded in the postmodernist novel 40 Hutcheon McViker Hutcheon postmodernist novel
20. David Porush The Soft Machine Cybernetic Fiction New York Methuen 1985 DF Barthelme EREDETE CORI 2 1992 9 21 Vol 19 1993 3 Parody through Existing Images Donald Barthelme s The Dead Father REIICHI MIURA Redefinition of postmodernism in literature is now in process New schemata offered by such critics as Linda Hutoheon and Jeanette McVicker make it possible to explicate what lies beneath the surface of what we call metafiction In this new light Donald Barthelme s second novel The Dead Father is read not as a mere experimental parody but as a serious attempt to explore his own style Fundamentally Barthelme was a parody writer throughout his career Yet his parodic writings are oftentimes characterized by the lack of their specific origin
21. Barthelme ER DF BAM A nies for Sons manual
22. 1 Bee Pee UCAS Barthelme LET SPOTL CORD BRED St OR MB ORL Thomas 40 46
23. stutter WAHL IC RO 1 2 stutter lt
24. BORED 49 1 DFTE Thomas
25. The New Fiction Barthelme Bos ELT 5 as The Dead Father zB gt TRiS ELT Barthelme
26. A David Porush cybernetic fiction lt Hutcheon McVicker RO ce 1 The Signet Classic Book of Contemporary American Short Stories New York NAL 1985 OF Burton Raffel Barthelme Linda Hutcheon A Poetics of Post modernism History Theory Fiction New York Routledge 1988 Jeantte McVicker Donald Barthelme s The Dead Father Girls Talk and the Displacement of the Logos Boundary 2 16 Fall 1990 363 369 Joe David Bellamy The New Fiction Interviews 2 3 4
27. D 2 The Dead Father
28. We are making progress Thomas said When I douse myself in its great yellow electricity the Dead Father said then I will be revived Best not anticipate too much said Thomas it jiggles the possibilities Possibilities Surely the Fleece is not a mere possibility It is an excellent possibility Julie said quickly A wonderful possibility 34 35 Thomas Julie Julie 1 over obviousness mats are aes 4 i ELT
29. FAST 28 appear Emma 26 BOLTA DERD He controls the hussars Controls the rise fall and flutter of the market 5 All lines my lines All figure and all ground mine out of my head All colors mine 19
30. 1 Donald Barthelme BORO 1 Linda Hutcheon Hhistoriographic metafiction 2
31. with Innovative American Writers Urbana U of Ilinois P 1974 51 I am always working on a novel But they always seem to fall apart in my hands Donald Barthelme The Dead Father New York Farrar 1975 I DF the Dead Father Hutcheon post modern on lor SEP aA FACE No 19 1993 3 Hutcheon a a LE Barthelme
32. SH T Punishment is a thing I m good at 82 But you never knew In the fullest sense Because you are not a father 33 I do inspire awe said the Dead Father Better than anybody A lifetime of it 56 transcendental 39 RAF the symbolic order
33. CN RRO BN CES eRe MS Barthelme K A LT DE ZOR the basic datatata
34. of the apotheosis the novel s world resembles what Lacan calls the symbolic order The queer narrative style of the novel which is written in that of stage directions indicates that the world exists non temporarily i e without the idea of time From the absent axes involved in the world which the narrative creates the actions of each character deviates The structure of parody in the novel is thus entrusted to the reader s side Scattered vague clues to the parodic reading irresistibly tempt us to accept stereotyped images which could be the original Our reading varies according to the selection of each hypothetical point between the axes and the images the reading experience of the novel thus become fabulously playful Barthelme is however not optimistic about the pliable style In the confession of Thomas the author tacitly names the bizarre irregularities in it stutter and thus implies that they result from the attitude of a son quailing at his father s shadow In other words he suggests a possibility that the 7 characteristic of his style can be attributed to his failure to excel his literary predecessors Can this be true Not answering this question he renames his style by means of the insertion of A Manual for Sons and leads the novel to the same conclusion as the myth predicted AG
35. Davis ed The Fictional Father Lacanian Readings of the Text Amherst U of Massachusetts P 1981 169 182 a T Oedipus swollen feet Larry McCaffery Tom LeClair and Larry MacCaffery eds Anything Can Happen Interviews with Contemporary American Novelists Urbana U of Illinois P 1983 34 John Leland Remarks Re marked Barthelme What Curious of Signs Boundary 2 5 Spring 1977 796 811 Paradise New York Putnam s 1986 169
36. als Whether his words refer to any preceding text or not they are always read as parodic for the tactical bizarreness of his style itself requires readers to search for its primary causes Because of this nature of the style his fiction is essentially seen as a deviant repetition of some anonymous text The novel follows the myth of Oedipus naturally readers identify the march of the Dead Father and his sons and daughters as the process toward his ultimate death While the process is served as an axis for us to put the fragmented novel together each part of the novel begins only after the march stops The march which in fact is never directly described functions as an absent axis Similarly no definite reference to the myth is found in the novel It is we readers who associate the one with the other in order to picture the entity of the novel in vain Another deception the author practices is concerning the status of the Dead Father For the most part he is represented as a deadly exaggerated impersonation of Lacan s concept of the symbolic Father who generates and governs the Law and language It is repeatedly shown that the reality in the novel transforms as he wishes At the same time however he is the wing father of Thomas the leader of the group The author misleadingly makes us see through Thomas s viewpoint which apotheosizes his own father The unreal image of the Dead Father as King is another absent axis in the novel Because
37. pimg snowberry The road with dust The sweat popping from little sweat glands The line of cable Beautiful country around face said Julie 13 2 Julie 2 Julie Ear We Beautiful country around here said Julie Gorgeous said Thomas Great to be alive said the Dead Father To breathe in and out To feel one s muscles bite and snap How is your leg Thomas asked The mechanical one
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