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Two literary features often found in Donald Barthelme's short-stories is brevity and playfulness. He utilizes a wide variety of techniques, tones and styles but the concise framework allows for a more experimental approach. This particular story feels indicative of his postmodernist sensibilities, embracing the absurd while moving away from conventional plot, characterization and subjectivity. The most striking aspect of "Rebecca" is the intrusive narrative voice that is omniscient but also interjects, comments and inserts themselves directly into the story. Indeed, it is this meta-narrative and self-reflexivity that evinces much of the playful humor, blurring the boundaries between fiction and art.
The opening line highlights the author's penchant for surreal and absurdist humor: "Rebecca Lizard was trying to change her ugly, reptilian, thoroughly unacceptable last name. "Lizard," said the judge. "Lizard, Lizard, Lizard, Lizard. There's nothing wrong with it if you say it enough times. You can't clutter up the court's calendar with trivial little minor irritations."
Very funny stuff.
Yet, there is a deeper meaning behind the absurd and satirical humor where a certain philosophical effect derives from playfully reveling in this multiplicity of narrative voices. Barthelme is some kind literary virtuoso, using Rebecca's existential dread of having an unfavorable last name as a springboard to explore complex issues of unconditional love, relationships, acceptance, self-compassion, life and death. It's quite remarkable that he manages to pull off this feat in such a limited amount of space.
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