The drive that was conquered by the floating Barth Opera will also be in this novel, as postmodern bill, but more extravagant and subversive. As for the floating Opera, the author chose to write it in the style lépoque in loccurrence English eighteenth century, beautifully restored by French Enlightenment by Claro (*). Barth parody of the novel precursors dapprentissage who have stress, as Cervantes, Swift and Sterne, artifice and limitations of romantic fiction. We find, as in Tristram Shandy, the same narrative digression quon found later in postmodern which Barth borrowed the ingredients of deconstruction of the novel. As with Pynchon, stories senchâssent into each other. Like the hero who wonders why one must choose one for her when there is a choice among a thousand, the characters have multiple interchangeable identities, metamorphosing as Ovid, changing names, faces, lineages or statutes to récits.Ce option of making, it seems that Barth has had else intention of reinventing the literary modernity, as did the forerunner of the American postmodernism, Henry Adams, taking his distance from the real, to put flat the rags which adorn all myths, those fiction's classic novel like those of official history. Through burlesque adventures dEbenezer Cooke, naive young self-proclaimed poet party discover Maryland, Barth passage chips away the clichés of romantic fiction and morality underlying, as these commonplaces that underpin the myth of a New Continent of any virgin fished, facing a corrupt Old World. Faced with this mystification that die hard, Barth opposed by another, more corrosive, where the conquerors as well as the natives of the New World nétaient quune band of degenerates. The history of the lAmérique such that it tells is false, but it does not much ballast in the official discourse dHollywood or in the cinema? He is fully aware when he sexcuse with Whiners who reproach You for taking him liberties with the historical facts, however, in asking "that we want to remember that we all more or less inventing our past, along the way, according caprice and interest. " The hero was a virgin up from what he had lost his virginity, the symbol of her innocence as for his illusions, when he finally gave up as Don Quixote to his "crazy games against the Channel mills", ie, the artificial reproduction of reality. After such a catharsis, the patient can only wake of his ignorance, realizing that he did jusqualors that summarizes his mentor in Burlingame diagnosis: "The truth that crazy must be sought before any finds us. But what is caught and when probed, Lunique expedient holder is printed above his will before she does is his destruction! We must pretend, pretend, if not run away like a frenzy. " (*) Claro is a writer and has translated the great names of contemporary English literature, including Thomas Pynchon, Salman Rushdie and Hubert Selby Jr.
