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 FUNHOUSEby John Barth, John Barth is no doubt best known as a novelist, but his one collection of short stories, Lost in the Funhouse. LOST IN THE FUNHOUSE. JOHN BARTH. Lost in the Funhouse. For whom is the funhouse fun? Perhaps for lovers. For Ambrose it is a place of fear and.

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No kidding — I did funbouse counting myself. Among Barth’s detractors, John Gardner wrote in On Moral Fiction that Barth’s stories were immoral and fake, as they portrayed life as absurd. 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 bzrth in the process.

Reading this collection made me mad at my undergraduate profs from SF State U from the early ’80s who never bothered to teach me that Postmodern Literature Well, the postmodern novel not only existed in America but was born in America. Featured in my Top 20 Books I Read in Jesus, maybe they should take that degree back. But then Barth’s multitude of styles and narrative techniques come to jonn head in the title story “Lost in the Funhouse,” which might be one of the most fun things I’ve come across in a long time.

I love I read this over a span of several weeks, really. Will that drive you mad? But after tapping many the literary device in a string of doorstopper novels, he wanted to, by golly, get his fiction in those collections of short stories, the kind of books he always uses to teach from. Up through titular story p The reader! Barth sfida il lettore in una rincorsa vertiginosa sul senso dello scrivere, sull’esistenza stessa di quanto narrato, in uno sperimentalismo da anni ’60 a tratti quasi tentativo come il nastro di Moebius reso racconto di poche righe e per qualcuno inutile, ma che io trovo sempre affascinante ed interessante.


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.

Girl With Curious Hair. Unfortunately, the next several stories utilize either a very similar method which gets old and never hits the same heightsor go into Greek funhouae in a completely un-interesting way. I’ve discovered I prefer my postmodernism in light doses, enriching rather than supplanting the traditional parts of literature, like plot and character.

The first story is told in first person, leading up to describing how Ambrose received his name.

Therefore he will construct funhouses for others and be their secret operator—though he’d rather be among the lovers for whom funhouses are designed. You have this BA in English, but you don’t get that ‘Meleniad’ is really an exercise in nested narrative, tying it into one of the creepier images of the earlier ‘Petition?

The trick there jihn that reviews are sort of self-aware and self-reflexive by their nature, which is why e. The layout of the story is weird. In what is apparently an argument between a couple with problems in their relationship, Barth rejects giving details of names and descriptions, instead just using the words “fill in the blank”.

Try the Kindle edition and experience these great reading features: This is one piece which can be a good introduction for any Barth neophyte. Barth rambles on in short story form about how hard a time he’s having writing anything intelligible hence, “Lost In the Funhouse”.

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Yes, I confess to skipping lightly and sprightly over the last three Greek-mythology-based items. Maximalism — Thou shall leave no literary device unturned. Got to hand it to you Sir John, you are a maximalist with a vengeance! I am the nectar and ambrosia of legends past and yet to come. The love of his life and his older brother ran off together to another part of the funhouse.

His older brother acts cool around Magda and Ambrose hates that. So, what’s there to do? View all 17 comments.


Does it get any more minimal that that? Literary experimentalism has rarely been practiced so consciously and creatively. John Barth – ‘Lost in the Funhouse’ Aug 24, Ian “Marvin” Graye rated it really liked it Shelves: National Book Award Finalist for Fiction Barth tells an incredibly mundane story, but is absolutely littered with self-awareness, meta-fictional winks at the reader, and explanations of what certain sentences and sections baryh supposed to be accomplishing in terms of the narrative.

Lost in the Funhouse – Wikipedia

You can help by adding to it. The object of the review isn’t the author or the review, it’s the book lkst reviewed, whereas the object of finhouse book is the book itself, books being works of art and therefore justifying themselves, as long as they’re good, which Lost in the Funhouse mostly is, although “Anonymiad” disappears up its own ass and I’m still not sure if “Meleniad” is anything but an exercise in quotation marks.

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 be conveyed. View all 29 comments.

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Lost in the Funhouse by John Barth

Barth has taken his audience for granted and left me feeling like a Bolivian sex worker on Sunday morning. The postmodern stories are extremely self-conscious and self-reflexive and are considered to exemplify metafiction. Modern Language Association http: I can see why the book was a bit revolutionary – particularly in the hard to read section Menelaiad where he quotes inside of quotes inside of quotes and the Anonymiad which is again some belly-bottom writing about writing about writing.

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