On the ongoing American obsession with the (American) short story

Moreover, I teach stories as well as telling them, and like most writing coaches I find the short story most useful for seminar purposes. You can hold a short story in your hand, like a lyric poem; see it whole; examine the function of individual sentences, even individual words, as you can't readily do with Bleak House or War and Peace. (This pedagogical convenience, together with the proliferation of creative writing programs in the U.S.A., must be largely responsible for the happy resurgence of the American short story - at a time when, paradoxically, the popular audience has never been smaller.)

- John Barth, Lost in the Funhouse

Barth time

John Barth... Is that like how I would pronounce 'bath' [cf. the correct way to pronounce 'bath'] or how clever-clever types would say (Roland) 'Barthes'?

Literary realities: 1

[We are a] couple of long-time English profs, both of whom routinely included bits of the Bard in their undergrad lit-survey courses (George mainly the plays, Amanda the sonnets, neither of us with scholarly authority, but both with the appreciative awe of fellow language-fiddlers).

- John Barth, Every Third Thought