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
Barth had already perfected the gentle art of recursion with the jaw-dropping ‘Lost in the Funhouse,’ where Borges’ idea of labyrinth-as-story is put into haunting practice.
A funhouse has mirrors all around. But the ideas behin I picked up this collection of short stories, because it was referenced in a David Foster Wallace novella Westward the Course of Empire Takes it’s Way that I massively enjoyed.
The love of his life and his older brother ran off together to another part of the funhouse. Barth began his career with The Floating Opera and The End of the Road, two short novels that deal wittily with controversial topics, suicide and abortion respectively.
It looks like there are parts of the story out of order and math problems in the middle. Jesus, maybe they should take that degree back. But some were too much to digest. Closer “Anonymiad” is the only one with any kind of story-form equilibrium. Then I got into the character of Ambrose, who appears in a few stories.
Lists with This Book. Apr 05, Hadrian rated it liked it Shelves: Barth kept a list of the tasks taped to his wall while he was writing the book.
But with this book of stories the inventiveness is balanced out by a purpose. 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.
A Smart Alec he is!
John Barth is inventive in his twists of character and format, and each story’s weirdness was enjoyable, to a certain point. This book is sort of loosely linked stories.
I didn’t read the final two stories. I was once imagined by the author, and now you’re imagining me.
Sig Dear Mr Barth, As I yet again write you a letter in a review of a book about writing funhousr writing about writing sigh! It understands and points out the devices it is using. Trivia About Lost in the Funhouse. 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 “Life-Story” and “Title” — each of these is remarkable, but exist as bright points amid a bit of slogging.
Lost in the Funhouse – A Mind for Madness
Barth is known for his excessive meta-fictional devices and influence on writers mentioned previously like Pynchon, Wallace, and probably any serious post-modernist. We haven’t even reached ocean city yet: Unfortunately, the next several stories utilize either a very similar method which gets old and never hits the same heightsor go into Greek mythology in a completely un-interesting way.
Unfortunately for this reader, all too many of the stories served more to obstruct me from my final goal, completion of the book and moving along to my next book forget reading for enjoyment. The story ar I believe that John Barth’s “experimental fumhouse was a failure from beginning to end. The story is continually interrupted to go off on tangents like this. Well then, to whom is it being told?
Paperbackpages. Still worth it for these, and joun for much more if more patient readers excavate this further. Powered by Create your own unique website with customizable templates. Initials, blanks, or both were often substituted for proper names in nineteenth-century fiction to enhance the illusion of reality.
Lost in the Funhouse – Postmodernism
At the time of publishing, all are available in the public domain. Lost in the Funhouse is full of stories about people writing stories, stories that deconstruct the idea of the story as the linguistic construct, stories that take the funhuse of labyrinths, stories told from perspectives you wouldn’t expect them to be told from, the works.
At times the balance can veer toward complete colapse, but then funhouss human touch will bring it back into equilibrium. Barth is such a lyrical writer, especially compared to most of the brooding postmodernist set. Also, and this is more my fault than his, I just don’t have enough mythology in my body to be as entertained with the last two stories as I think he was writing and imagining them. Several stories were written with intention to be consumed in non-traditional manner–for example “Autobiography” should be received via a recording while the author sits silent next to it.