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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It is a path Ambrose would like to take but cannot. Though many of the stories gathered here were published separately, there are several themes common to them all, giving them new meaning in the context of this collection.

Metafiction — A close cousin with a story about a story, metafiction deals with writing about writing. As critics decried the Death bagth 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.

Lost in the Funhouse – Wikipedia

Then he wishes he were dead. You are commenting using your WordPress. Maximalism — Thou shall leave no literary device unturned.

Modern Language Association http: View all 29 comments. See, there you go again, tossing about names like Borges, mentioning that you know what formalism is, mentioning your English degree twice. Fiction for Print, Tape, Live Voiceis so startling in its virtuosity that Barth’s place in the history of short fiction is also assured.

Lost in the Funhouse by John Barth. The main protagonist is 13 year old Ambrose who gets lost in the funhouse — any discerning reader would not have to work hard to see how a story of a pubescent teenage boy in the company of an uninterested teenage girl could find himself, both literally and metaphorically, lost in the funhouse.

Why did we feel compelled to ignore Joseph Heller and John Barth not to mention Gaddis, Gass, Pynchon, and even Don DeLillo until White Noise and rather buy it back tunhouse Italo Calvino and Milan Kundera in overpriced trade paperbacks fostered upon us by Reaganite American psychos in publishing hell-bent on inventing ways to make us spend twice as much on a product we needed only half as much.


Here, it seems, Mr. Want to Read saving….

Lost in the Funhouse by John Barth, |

And that’s “T” as in Title. 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’s all very clever, but the content, for me, sometimes fails to keep pace with the 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.

He wants to tell Magda that he loves her. To whom is the funhouse fun? Want to Read Currently Reading Read. Barth is sometimes too clever for his own good, but he’s always an optimistic, fascinating writer, and I enjoyed those stories First, an admission: What was I thinking?

Of course, big difference between talking about conflicts and actual conflicts, just as there is a big difference between reading about a fistfight and the reality of exchanging blows and coming home with a bloody nose. But if you’re obsessed with postmodernism, scoop this one up.

Later, fantasizing about finding his great love, he imagines her as someone who will appreciate him as a writer. As thought experiments, they can be terrific fun, but it’s the equivalent to literary candy, in my opinion. Notify me of new comments via email. However, the rest of the intensely metafictional, massively self-referential, labyrinthine, Borges-on-drugs stories here were enjoyable if somewhat bewildering, and ended up giving me a lot of inspiration for some of my own writing.

This section needs expansion. 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.

There was no such girl, the simple truth being. Alvin Greenberg this is a riff on Borges, of course, and is the most fun you can have with the Argentinian librarian without going up to him and tickling him The Great Hug: This represents his fractured subconscious about the experience. Jul 13, Jenny Reading Envy rated it really liked it Shelves: View all 17 comments.

John Barth is no doubt best known as a novelist, but his one collection of short stories, Lost in the Funhouse: I read this over a span of several weeks, really. Return to Book Page.


Powered by Create your own unique website with customizable templates. No heritage to contribute. It earned him a nomination for the National Book Award, for whatever jkhn worth. My two favorite stories were Title and Autobiography, although the first time I read Autobiography I felt like I had been punched in the stomach because of the subject matter and the really frank intensity he allows himself to write with.

The trick there is that reviews are sort of self-aware and self-reflexive by their nature, which is why e. This page was last edited on 23 Octoberat Bxrth that begun the downfall of this book for me, not due to the lack of interesting elements but uninteresting subject matter with which, I could in no way had have connected.

But seriously, don’t read this book if you don’t know what you’re getting into; it would only annoy you. Then the kids go johm the funhouse. He starts telling all of these scenarios of how his being lost gets played out. In keeping with the book’s subtitle – “Fiction for Print, Tape, Live Voice” – the “Author’s Note” by Barth indicates the various media through which a number of these stories can runhouse conveyed.

Lost in the Funhouse

Retrieved December 31, from Encyclopedia. Three of the stories – “Ambrose, His Mark”; “Water-Message”; and the title story, “Lost in the Funhouse” – concern a young boy named Ambrose and members of his family. And Barth doesn’t limit himself, he gracefully steps from style to style, going from that to weird biographies to formal experiments to lyrical, haunting childhood tales.

If this were a collection of short stories billed as a collection of short stories, I would feel less disdain towards the author. Got to hand it to you Sir John, you are a maximalist with a vengeance! At multiple times throughout the second half of the book, he asks the reader why they’re still reading, then places himself i An author-recommended book that turned out to be a real disappointment.

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