Giles Goat-Boy came from what John Barth called the Ur-Myth, or the myth of the hero, that he read about in The Hero: A Study in Tradition, Drama, and Myth by Fitzroy Richard Somerset, fourth baron (1956) and The Hero With a Thousand Faces (1949) by Joseph Campbell. Giles Goat-Boy follows Campbell’s description of the pattern of the mythic hero. Giles’s journey parallels those of the heroes Campbell treats, including Odysseus, Aeneas, and Jesus. The mythic hero’s adventure includes a humble birth or infancy that belies the hero’s great origins, a journey to the underworld, and a triumphant return.
George’s comic adventures parody the hero’s quest and satirize many prominent people and events of the twentieth century. Max, for example, is partially modeled on Albert Einstein and J. Robert Oppenheimer. A character called Lucius “Lucky” Rexford is largely modeled on John F. Kennedy; Campus Riot II is modeled on World War II; the Quiet Riot, on the Cold War; and New Tammany College, on the United States. Barth combines topical satire and allusion with perhaps the most universal story known to humanity—the hero’s journey—to produce a book of epic proportions.
In addition to the story itself, Giles Goat-Boy employs metafictional devices reminiscent of earlier works by Barth. A “Publisher’s Disclaimer” by the “Editor-in-Chief,” for example, contains statements by four editors arguing whether the book should be published. Included also are a “Cover-Letter to the Editors and publisher” by “This regenerate Seeker after Answers, J.B.,” a “Posttape,” a “Postscript to the Posttape,” and a “footnote to the Postscript to the Posttape”—all by Barth himself, in which he creates the fiction that Barth is an editor of a manuscript given to him by one Giles [,] Stoker, son of George Giles and Anastasia, but that parts of the manuscript got mixed...
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