October 12, 2019   |   by admin

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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In doing this he is actually creating new and original devices. Featured in my Top 20 Books I Read in He is a great innovator whose fictions would be worth the reader’s time for their technical virtuosity alone, but he is also a writer with a profound grasp of the human spirit in conflict with itself, its world, and its art.

So extremely Droste-recursive and painfully self-consciously meta-fictional there’s almost no room for any. This all emphasizes the main effect Barth is striving for. Nothing new that I can capture.

This is not a review review; it’s a reaction. Fill in your details below or click an icon to log in: Unfortunately, like so many front-loaded albums from bands that you only kind of like, the second half was supremely tiresome.

Lost in the Funhouse

I love I read this over a span of several weeks, really. 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. Funhouee was once imagined by the author, and now you’re imagining me. He’s doing a little Barth-homage Then B– comes out of it and into something entirely different in the penultimate and tailpiece: And all the good will that he earns from so beautifully crafting a story like “Lost in the Funhouse,” he wastes on “Menelaiad.


Up through titular story p94 everything was working for me. Email required Address never made public.

Lost in the Funhouse is fucking brilliant–in that perfect, self-reflexive Pomo way–and beyond it even. It looks like there are parts of the story out of order and math problems in the middle.

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.

I highly recommend this to anyone who aspires to understand modern literature. Barth’s fiction continues to maintain a precarious balance between postmodern self-consciousness and wordplay on the one hand, and the sympathetic characterisation and “page-turning” plotting commonly associated with more traditional genres and subgenres of classic and contemporary storytelling.

View all 7 comments. One way minimalism can be defined is the manner in which an author will provide the barest descriptions and ask the reader to fill in the blanks. This collection is — it says here – a major landmark of experimental fiction. I’ve discovered I prefer my postmodernism in light doses, enriching rather than supplanting the traditional parts of literature, like plot and character.

The result looks something like this: But with this book of stories the inventiveness is balanced out by a purpose. 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. Perhaps fo Something Similar “Writers learn from their experience of other writers as well as from their experience of life in the world; it was the happy marriage of form and content in Borges’s ficciones – the way he regularly turned his narrative means into part of his message – that suggested how I might try something similar; in my way and with my materials.


People are now looking down their noses at a lot of rock music and holding disco up alongside Beethoven, which sure wouldn’t have happened thirty years ago I think you need to rethink your approach, man], but what the hell do I know So, let’s to the point, now that I’m so far gone up my own ass that I can see my own digestive tracts working, and it’s so gross that I’m gonna throw down a rope ladder so I boogie on outta here.

It would be better to be the boyfriend, and act outraged, and tear the funhouse apart….

Lost in the Funhouse by John Barth, |

Thanks for this essay. In the end, the fact that Ambrose is left all alone is very symbolic. I have funhousf exam tomorrow on this, and it just became a little more clear to me how this story unfolds!

The story is an example of metafiction, as are most others in the collection, for it is not only about Ambrose’s trip to the park but also about writing a story about Ambrose’s trip to the park.