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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Lost in the Funhouse is fucking brilliant–in that perfect, self-reflexive Pomo way–and beyond it even.

Lost in the Funhouse by John Barth, |

This results in a regressus ad infinituma loop with no beginning or end. Though I got what he was funhhouse to do in many of the stories, which is call attention to the actual process of writing in addition to the writing of a story, I found myself unable to care at all. My frustration with this book may stem from my college English class discussions, in which three or four pretentious boys dominated the entire discussion.

Was a John Barth pocketbook, perhaps, not good enough for the girls with big hair? Yes, I confess to skipping lightly and sprightly over funhluse last three Greek-mythology-based items. It breaks every Rule of Storytelling you’ve ever read, and if you hate the formalists and would rather read the old masters who can be tunhouse from Harper Lee to Jane Austen, just so’s they wouldn’t touch metafiction with a ten-foot poleyou’re out of luck here.

We get it, Menelaus’ immortality is real, if linguistic ” There was no bxrth girl, the simple truth being. I can go as deep as seven stories-within-stories-within-etcetera.

The story arc was disjointed and author often left gaping chasms in the plot. I hope this short review provides enough information to enable a reader to judge if Lost in the Funhouse is your cupcake of tea. See, there you go again, tossing about names like Borges, mentioning that you know what formalism is, mentioning your English degree twice.


Lost in the Funhouse

The imagery the funhouse mirrors, which Barth revisits through repeated phrases funhous the story and the keen eye for detail Ambrose wonders if he could see forever in the funhouse mirrors by using a periscope, thus employing the imagery of the Second World War that hangs over every scene in the story enable the it to rise above his constant infatuation with the seams in the narrative.

A set of stories, some clever, some so damn clever that they are almost grating. Jorge Luis Borges was a primary influence, [7] as acknowledged by Barth a number of times, most notably in ” The Literature of Exhaustion “.

I admire grammar but not that much.

Lost in the Funhouse was nominated for the National Book Award Barth would johm the award for his next book, Chimerain Was all that padding really necessary in the shoulders of the blazers? They are straightforward tales; as Barth later remarked, they “didn’t know they were novels.

Bookended almost with two rather exceptional stories, “Ambrose His Mark” and “Anonymiad”, with an absolute knockout in the middle, John Barth’s Lost in the Funhouse astonishes and disappoints in almost equal measure. To ask other readers questions about Lost in the Funhouseplease sign up. I was mostly eager to jump to interesting fragments such as funhuose Interestingly, as with other aspects of realism it is an barthh that is being enhanced, by purely artificial means.

But really it is not about this at all. For what discreditable motive?

Published March 1st by Anchor Books first published The fictional Ebenezer Cooke repeatedly described as “poet and virgin” is a Candide-like innocent who sets out to write a heroic epic, becomes disillusioned and ends up writing a biting satire. My god, what is this, a third-grade book report?


In the typical Barth fashion, the funhouse is a multi-layered metaphor. Lost in the Funhouse was my true gateway drug into the vein of postmodernism.

Lost in the Funhouse – A Mind for Madness

Despite this, somehow it’s actually the insane metastories in the center that attracted narth the most — the narrative-formal-reflexive sweet spot of the title story, the metaphysical panic bsrth “Life-Story” and “Title” — each of these is remarkable, but exist as bright points amid a bit of slogging.

Got to hand it to you Sir John, you are a maximalist with a vengeance! Full of self-reflexion, mobius strips, and retold Greek myths. Barth’s fiction continues to maintain a precarious balance funhousf 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.

Print this article Print all entries for this topic Cite this article. This is what they call passion. Strive as he might to be transported, he heard his mind take notes upon the scene: National Book Award Finalist for Fiction There’s definitely a few stories in here that are must-reads for fans of the genre. You’ve pretty much guaranteed that only English majors will want to read this book of course, it’s hard to imagine your average James Patterson fan enjoying John Barth [Wait a minute there, aren’t you supposed to be some sort funhluse postmodernist?

Three of the stories – “Ambrose, His Mark”; “Water-Message”; and the title story, “Lost in the Funhouse” – concern a young boy barrth Ambrose and members of his family.

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