1John Barth, Lost in the Funhouse: Fiction for print, tape, live voice,Garden City, N. Y. : Doubleday & Co. , 1968,p. vii, p. vi, p. 101, p. 102.
2John Barth, The Friday Book: Essays and Other Nonfication, Baltimore and London: The John Hopkins University Press, 1984, p. 64, p. 68, p. 10, p. 77, p. 102.
3David Morrell, John Barth : An Introduction,University Park: Pennsylvania State University Press, 1976; Max Schulz, The Muses of John Barth : Tradition and Metafiction from Lost in the Funhouse to the Tidewater Tales, Baltimore:The Johns Hopkins University Press, 1990, p.76.
4John Barth, Further Fridays: Essays, Lectures,and Other Nonfiction, 1984--1994, Boston:Little, Brown and Company, 1995, p. 65.
5Fredric Jameson, Postmodernsim, or, The Cultural Logic of Late Capitalism, London: Verso,1991, p. 63.
6Maurice Blanchot, The Gaze of the Orpheus and Other Literary Essays, New York: Station Hill Press, 1981, p, 5.
7Jerome Klinkowitz, Literary Disruptions : The Making of a Post--contemporary American Fiction, Urbana: University of Illinois Press, 1975,p. 63.
8Jac Tharpe,John Barth : the Comic Sublimity of Paradax, Carbondale: Southern Illinois University, 1974; Tony Tanner, "No Exit," Partisan Review, 36:2 (1969), pp. 293--299.
9Zack Bowen, A Reader's Guide to John Barth,Westport, Conn. : Greenwood Press, 1994;Kiernan, Robert F. "John Barth's Artist in the Funhouse" Studies in Short Fiction, 10:4 (Fall 1973), pp. 373--380.
10Robert Scholes, "Allegory of Exhaustion," Fiction International, 1 (Autumn 1973), pp. 106--108.
