Giles Goat-Boy

Giles Goat-Boy (1966) is the fourth novel by American writer John Barth. It is a metafictional comic novel in which the universe is portrayed as a university campus in an elaborate allegory of both the hero's journey and the Cold War. Its title character is a human boy raised as a goat, who comes to believe he is the Grand Tutor, the predicted Messiah. The book was a surprise bestseller for the previously obscure Barth, and in the 1960s had a cult status. It marks Barth's leap into American postmodern fabulism.

Giles Goat-Boy is one of Barth's most complex novels, a multi-layered narrative about the spiritual development of George Giles, goat boy. The book also functions as an allegory of the Cold War. The university in which the novel takes place is divided into a secretive and authoritarian East Campus and a more open West Campus. Speaking in 2001, John Barth described the novel this way:

It's a farcical allegory, sophomoric literally and figuratively. It’s about a universe that is a university, or a university that is a universe ... It goes on for too long, but among my objectives in writing the book was to have the chap, given his assignments here, attempt to solve them in a literal fashion, finds out he has to readdress them in a metaphorical fashion. He has to go through something which, while it’s in an exaggerated farce, I wanted to partake of the genuine aspects of the terror of Aristotelian catharsis, the catharsis through ... utter loss of self and its regainment.

Giles Goat-Boy marks Barth's emergence as a metafictional writer. The metafiction manifests itself in the "Publisher's Disclaimer" and "Cover-Letter to the Editors and Publisher" which preface the book, and which each try to pass off the responsibility for authorship onto another: the editors implicate Barth, who claims the text was given to him by a mysterious Giles Stoker or Stoker Giles, who in turn claims it was written by the automatic computer WESCAC. In the disclaimer the "editors" present their opinions on whether or not to publish the book, with responses ranging from repugnance to revelation, and some disparaging both the novel and its presumed author. The "author," JB, having amended the book to an unknown extent, claims it has become accidentally mixed up with a manuscript of his own. The book is further appended with a "Post-Tape" and then a postscript, both potentially spurious, further undermining the authority of the author.

"Here fornication, adultery, even rape, yea murder itself (not to mention self-deception, treason, blasphemy, whoredom, duplicity, and willful cruelty to others) are not only represented for our delectation but at times approved of and even recommended! On aesthetic grounds, too (though they pale before the moral), the work is objectionable; the rhetoric is extreme, the conceit and action wildly implausible, the interpretation of history shallow and patently biased, the narrative full of discrepancies and badly paced, at times tedious, more often excessive; the form, like the style, is unorthodox, unsymmetrical, inconsistent"

Bookworm host Michael Silverblatt argues that in the novel, “parody and burlesque and tragedy supersede themselves, transcend themselves.” Much of the humor and many events in the book employ a number of potentially offensive representations of blacks, Jews and women, and historical events such as the Holocaust are the subjects of absurdist humor. Life Magazine described Giles Goat-Boy as "a black comedy to offend everyone."

George Giles is a boy raised as a goat who rises in life to be Grand Tutor (spiritual leader or messiah) of New Tammany College (the United States, or the Earth, or the Universe). He strives for (and achieves) herohood, in accordance with the hero myth as theorized by Lord Raglan and Joseph Campbell. The novel abounds in mythological and Christian allegories, as well as in allusions to the Cold War, 1960s academia, religion and spirituality. Rather than discovering his true identity, George ultimately chooses it, much like Ebeneezer Cooke does in Barth's previous novel, The Sotweed Factor.

The principle behind the allegorical renaming of key roles in the novel as roman à clef is that the Earth (or the Universe) is a university. Thus, for example, the founder of a religion or great religious leader becomes a Grand Tutor (in German Grosslehrer), and Barth renames specific leaders as well: Jesus Christ becomes Enos Enoch (meaning in Hebrew "The man who walked with God" or "humanity when it walked with God"), Moses becomes Moishe, Buddha becomes the original Sakhyan. As the founder of the maieutic method, Socrates becomes Maios; Plato (whose Greek name Platon means "broad-shouldered") becomes Scapulas (from scapula, shoulder-blade); Aristotle, as the coiner of the term entelekheia (lit. "having an end within," usually translated "entelechy," or glossed as the actualization of a potentiality), becomes Entelechus. The heroes of epic poems tend to be named after the Greek for "son of": Odysseus becomes Laertides (son of Laertes), Aeneas becomes Anchisides (son of Anchises), and so on. The subtitle The Revised New Syllabus means, in the novel's Universe=University allegory, a parodic rewriting of the New Testament. Satan is the Dean o' Flunks, and lives in the Nether Campus (hell); John the Baptist is John the Bursar; the Sermon on the Mount becomes the Seminar-on-the-Hill; the Last Judgment becomes the Final Examination. Among the parodic variations, a computer replaces the Holy Spirit, and an artificial insemination the Immaculate Conception.