In “Lost in the Funhouse,” the author, John Barth, writes a story about someone, a narrator, who is himself writing a story about Ambrose, a boy of thirteen. John Barth’s titular short story, ‘Lost in the Funhouse’, from his subversive short- story collection Lost in the Funhouse, is an overt example of the theories. Lost in the Funhouse (The Anchor Literary Library) [John Barth] on *FREE* shipping on qualifying offers. John Barth’s lively, highly original.

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I can see why the book was a bit fubhouse – par Well, to be honest, I found this book to be almost as painful as La Disparition by Georges Perec reviewed here on GR. Three of the stories – “Ambrose, Hohn Mark”; “Water-Message”; and the title story, “Lost in the Funhouse” – concern a young boy named Ambrose and members of his family.

Or at least there was for me. Through his relatively short text, Jhon conveys a much broader contextual audit of postmodernism — he gives the reader an opportunity to explore metanarratives, metafiction, the authors function, emerging forms of fiction and the art of writing fiction.

Want to Read saving…. Minimalism — As it turns out, this John Barth collection includes a life story compressed into fourteen pages and an autobiography boiled down into six pages. You can help by adding to it.

The protagonist takes a creative writing course at a school near Johns Hopkins, taught by a Professor Ambrose, who says he ” is a character in and the object of the seminal ‘Lost in the Funhouse'”. Apr 11, Matt rated it did not like it. This is not a review review; it’s a reaction. Barth is fuhouse for his excessive meta-fictional devices and influence on writers mentioned previously like Pynchon, Wallace, and probably any serious post-modernist.

Despite this, somehow it’s actually the insane metastories in the center that attracted me the most — the narrative-formal-reflexive sweet spot of the title story, the metaphysical panic of barthh and “Title” — each of these is remarkable, but exist as bright points amid a bit of slogging. By using this site, you agree to the Terms of Use and Privacy Policy.


I believe that John Barth’s “experimental novel” was a failure from beginning to end. A funhouse has mirrors all around. As thought experiments, they can be terrific fun, but it’s the equivalent to literary candy, in my opinion.

Up through titular story p The reader! Consider how dreadful so far: The result looks something like this: Very early on in the story, the narration is interrupted, the author shattering what appears to be realism in order to convey to the reader the process of writing and the literary and linguistic conventions that are associated with such a text.

It is these comments that are the humorous meta-fictional devices. Jul 13, Jenny Johm Envy rated it really liked it Shelves: It is the physical structure in which Ambrose gets lost. Jorge Luis Borges was a primary influence, [7] as acknowledged by Barth a number of times, most notably in ” The Literature of Exhaustion “.

Lost in the Funhouse

Turns away to hide smile. I keep thinking that these language games jphn becoming dated, though. Then he wishes he were dead. Facebook Reddit Twitter Pinterest.

The story arc was disjointed and author often left gaping chasms in the plot. John Barth is no doubt best known as a novelist, but his one collection of short stories, Lost in the Funhouse: Barth has since insisted that he was merely making clear that a particular stage in history was passing, and pointing to possible directions from there.

It’s all very clever, but the content, for me, sometimes fails to keep pace with barhh clevern As critics decried the Death of the Novel, Death of the Story, Death of the Author, Death of et cetera, Barth took it upon himself to revel in the debris, causing further destruction in the process.


Apr 05, Hadrian rated it liked it Shelves: I exist only in the imagination, though in between I am written down.

Barth uses the narrator to address issues of story writing — he mentions several different ways the story could end. Schoolbytes English Papers History Contact. Barth cited a number of contemporary writers, such as Vladimir NabokovSamuel Beckettand especially Jorge Luis Borgesas important examples of this.

The story ar I believe that John Barth’s “experimental novel” was a failure from beginning to end. That jhn, these characters exist doubtlessly as characters, and yet he is still able to breathe life into them and, to employ a tired phrase, make them come alive on the page. In fact, in searching for a certain quote just now, I came across another that reinforces my reading that the entire story is a metaphor. Lists with This Book. A Smart Alec he is! Unfortunately, like so many front-loaded albums from bands that you only kind of like, the second half was supremely fungouse.

Lost in the Funhouse – Postmodernism

No trivia or quizzes yet. There are many other features of Barths fiction that I could have analysed but for me, I wanted to explore Barths attitude to postmodernism and the ways that he sought to demonstrate his ideas. At multiple times throughout the second half of the book, he asks the reader why they’re still reading, then places himself in Greek mythological settings to whine some more about life.

Re-read the passages quoted above and it works either way, especially if you know that being terrified of life to the point of catatonia is a recurring theme in several Barth books.

Paperbackpages. This is what they call passion.