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Hiding Man: A Biography of Donald Barthelme, by Tracy Daugherty
Ebook Hiding Man: A Biography of Donald Barthelme, by Tracy Daugherty
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In the 1960s Donald Barthelme came to prominence as the leader of the Postmodern movement. He was a fixture at the New Yorker, publishing more than 100 short stories, including such masterpieces as "Me and Miss Mandible," the tale of a thirty-five-year-old sent to elementary school by clerical error, and "A Shower of Gold,"in which a sculptor agrees to appear on the existentialist game show Who Am I? He had a dynamic relationship with his father that influenced much of his fiction. He worked as an editor, a designer, a curator, a news reporter, and a teacher. He was at the forefront of literary Greenwich Village which saw him develop lasting friendships with Thomas Pynchon, Kurt Vonnegut, Tom Wolfe, Grace Paley, and Norman Mailer. Married four times, he had a volatile private life. He died of cancer in 1989. The recipient of many prestigious literary awards, he is best remembered for the classic novels Snow White, The Dead Father, and many short stories, all of which remain in print today. This is the first biography of Donald Barthelme, and it is nothing short of a masterpiece.
- Sales Rank: #1226047 in Books
- Published on: 2009-02-03
- Released on: 2009-02-03
- Original language: English
- Number of items: 1
- Dimensions: 9.52" h x 1.87" w x 6.53" l, 2.00 pounds
- Binding: Hardcover
- 592 pages
From Publishers Weekly
Starred Review. This sprawling first biography of the writer Donald Barthelme (1931–1989) complements an exemplary account of the man and his milieu with a history of 20th-century architecture, film, philosophy, visual art and political activism—not to mention a stunning exegesis of Barthelme's work and a surfeit of vignettes from New York literary life in the 1960s and '70s. Daugherty, a professor of English and creative writing at Oregon State and former student of Barthelme, renders the writer of The Dead Father in all his complexity: the experimental iconoclast, the establishment figure without a university degree who published more than 100 stories in the New Yorker, the citizen-activist, admitted alcoholic, the devoted if distant father and the prankster on the page. While Daugherty firmly takes Barthelme's side in his four troubled marriages, he assesses the writer's legacy, his champions and detractors (e.g., Joyce Carol Oates, John Gardner and the hundreds of readers who canceled their New Yorker subscriptions in 1968 to protest the publication of his catty Snow White). Like Barthelme's best stories, this unapologetically literary and ambitious book is cultural and artistic bricolage at its finest. 16 pages of b&w photos. (Feb.)
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From Bookmarks Magazine
Critics unanimously applaud Daugherty for the first comprehensive, analytical biography of his former teacher. The Oregonian calls Hiding Man a "remarkably tender, sympathetic treatment" of Barthelme, and while Daugherty may have given Barthelme a glowing biography, he doesn't downplay his more negative traits. The book also does an excellent job of connecting the writer to his literary and social context. The Oregonian notes that while Barthelme can be difficult to read, "in Daugherty's hands the stories seem not nearly as challenging as they are inviting," a point echoed by the Washington Post. Readers interested in Barthelme will find an informative, entertaining biography; readers unacquainted with this postmodern giant may wish to start with one of his short story collections.Copyright 2009 Bookmarks Publishing LLC
From Booklist
*Starred Review* Mold-breaking writer Donald Barthelme (1931–89) could have been a musician or an artist, but it was obvious from an early age that language was his gift. The oldest child in a creative “hothouse” household—his flinty father was a prominent Houston architect and his brothers, Frederick and Steven, also became writers––Barthelme honed his chops as a journalist, critic, and editor, then revolutionized fiction with his wildly creative, satirical, metaphysical, and moral short stories and novels. Published regularly in the New Yorker for many years, Barthelme became controversial and famous and yet, in significant ways, remained little known. Daugherty was a student of Barthelme’s at the University of Houston, and his fluent, enlightening biography traces the evolution of Barthelme’s complex, influential aesthetic while capturing both his whimsy and sorrow. With a colorful cast of writers and artists, involving tales of family strife and artistic excitement, Daugherty’s delving, simpatico portrait of “the first true American surrealist,” a brilliant, bedeviled writer who “insisted that humor was his only mode of seriousness,” anchors a fascinating chapter in American letters by reclaiming and redefining a risk-taking writer whose edgy legacy is found in today’s most imaginative fiction. --Donna Seaman
Most helpful customer reviews
0 of 0 people found the following review helpful.
This study of Barthelme's life enhances his work
By Trevor Seigler
When I was in middle school, I came across a weirdly-titled short story (something about painter Paul Klee misplacing a German airplane during WWI) in an anthology of American literature. The story wasn't assigned for my class, but I was intrigued and so I gave it a read (it didn't hurt that, compared to some of the other entries in that volume, the story was short). I became a Donald Barthelme fan on that day, so when I approached this book some twenty years after coming across that story, I was hesitant to have whatever slim impressions I had of the man challenged by whatever was in the book. But this biography has only illuminated what made Barthelme so special.
"Hiding Man: A Biography of Donald Barthelme" tells the story of Barthelme's life and his fiction. Born on the East Coast but raised in Houston, Texas, Barthelme never really fit into the mold of the short-story writer in the popular imagination (or in countless creative-writing workshops). Barthelme was never content to try and be confessional or straight-forward; his fiction constantly challenged and upended the rules of what short fiction could be, and in time his style became popular (there was backlash later on, as there inevitably is with any creative force, but Barthelme seems to have weathered it well). In this age of bite-sized clips from movies on YouTube or twenty-four-hour news that says very little, it might be that Barthelme is due a revival soon if his work isn't experiencing one already. His shorter works are perfect for the times we live in now, which makes it all the more a shame that he died so soon.
Tracy Daugherty, a former student of Barthelme's, exposes the man but never does so as a disservice. Warts and all, Barthelme is a sympathetic literary giant (something that's not always the case with some of the world's greatest in any field). Barthelme's father (Donald Senior) was a world-class architect, and that informs his son's work, as Daugherty points out. Barthelme became something of a fixture in the pages of "The New Yorker," and there is some price to pay for that sort of acceptance and success (what's intriguing to consider is if Barthelme might have had more "traditional success" if he hadn't been constrained by the New Yorker). Multiple marriages and two children are as much a part of his legacy as his work. Daugherty emerges with a well-rounded, fair but never fawning portrait of his former teacher, a world class writer who gave generously of his time and insight to students.
My fears of coming away from this book with a different view of Barthelme were borne out, though not in the way I anticipated. It's a rare thing to come away from a biography of someone creative and still admire them, or even admire them more, because they're just as human as you or I. But "Hiding Man" reveals that Donald Barthelme was worthy of the recognition and admiration he received in his lifetime and continues to receive posthumously. Sometimes the portrait of the artist is more flattering than we might anticipate, and that's a good thing.
9 of 10 people found the following review helpful.
Well-Written but the Last Third Is Perhaps Too Self-Censored
By Amazon Customer
Daugherty's writing is definitely skillful and often beautiful. This is one of the best biographies I've read in a long time. I found the description of the relationship between Barthelme and Roger Angell, Barthelme's New Yorker editor, especially interesting--even shocking as a glimpse into that world. It would seem, from this narrative at least, that Barthelme's entire career was pretty much made by Angell, but that Barthelme was also enslaved to the New Yorker because of the curious fiscal practice of paying writers advances for future work, thus ensuring that the impoverished Barthelme would remain in debt to the famous magazine.
The last quarter or third of this book disappointed me. The writing became coy in terms of what was left out. After multiple discussions of the towering influence Barthelme's father had on him, and how Oedipal themes of patricide flourished in Barthelme's work, Daughtery never tells us how Barthelme Sr. reacted to Jr.'s work, alcoholism, and career ups and downs. Barthelme Sr. even outlived Jr., but Sr. basically disappears from the latter portion of the book. I got a strong sense that information was being withheld by the author, that probably Daughtery is protecting living members of the Barthelme family with whom he needed to collaborate to do as good of a job as he did.
In summary I would say this is a near-great book but it's marred by this possible self-censorship and withholding. Perhaps we'll have to wait for another couple of decades for another generation to produce the truly great Barthelme bio.
7 of 7 people found the following review helpful.
Top-notch -- bio & analysis w/ something to say
By John Domini
I finished this over the weekend, in a matter of days after I picking it up, & I found it nothing short of masterly. Tracy Daugherty begins w/ a crucial understanding, namely, that Donald Barthelme's life & career set a challenge for American imaginative literature, for what it holds valuable. So this entire espresso-rich compendium of pertinent life-detail -- reaching back to the founding of Houston & of Greenwich Village, to the structure & symbolism of Dante's DIVINE COMEDY, to the place of Andromache & Penelope in Homeric myth -- the entire book -- neglecting none of Barthelme's busy family, none of his stabs at reporting, at teaching, at art-curating, collage-making, radio-writing, jazz-playing, & none of his heavy drinking either, & certainly neglecting none of his many wives & lovers, a number of them (like Grace Paley) superb artists themselves -- still the entire biography never gets far from its argument. Barthelme's work, in Daugherty's ever-sensitive assessments, never lacks for the *edge* that drove it. As a writer, he was always up against the prevailing powers, & always subverting them w/ wit, intelligence, surprise, & a "golden ear" (to borrow the expression several of the former lovers & friends in this book find themselves using). In HIDING MAN Barthelme has a life-story worthy of the struggle to which he, all light-heartedly, dedicated his vocation. Anyone seeking to matter in the arts could learn from the fascinating, scrupulous, & highly humane scholarship Daugherty brings off here.
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