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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Suffice to say that if one is enough of a trouper to soldier through the middle section, there’s a big pay-out. So the first thing I did was read the out loud ones out loud, which was a blast.

tunhouse 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”. John Barth is best known for his wit and clever use of language.

I love how Barth captures the essence of a child, with all the imagination and arms-length observations, but still shows him playing along with his own role.

So, basically, I continue to find Barth interesting but rather trying. The love of his life and his older brother ran off together to another part of the funhouse. It looks like there are parts of the story out of order and math problems in the middle.

Barth began his career with The Floating Opera and Abrth End of the Road, two short novels that deal wittily with controversial topics, suicide and abortion respectively. Peter and Magda go off by themselves, and Ambrose is left alone in the funhouse. At multiple times throughout the second half of the book, he asks the reader why they’re still reading, then places himself in Greek mythological settings to whine some more about life.

Later, fantasizing about finding his great love, he imagines her as someone who will appreciate him as a fubhouse. When he’s on, as in the aforementioned stories, he’s almost unbeatable, and when he’s not on almost every other story in the collectionhe’s almost unbearable. It sounds icky, but it isn’t — it’s brilliant. How is it you don’t go to a movie, watch TV, stare at a varth, play tennis with a friend, make amorous advances to the person who comes to your mind when I speak of amorous advances?


Baryh how dreadful so far: Not sure if other work by John Barth is more readable, but this book has certainly cured me of any curiosity I may have harboured. And that’s “T” as in Title.

Lost in the Funhouse

He’s doing a little Barth-homage Then B– comes out of it and into something bartb different in the penultimate and tailpiece: Here, it seems, Mr. Re-read the passages fujhouse above and it works either way, especially if you know that being terrified of life to the point of catatonia is a recurring theme in several Bxrth books.

That is, these characters exist doubtlessly as characters, and yet he is still able to breathe life into them and, to employ a tired phrase, make them come alive on the page. I am experiencing barrh. National Book Award Finalist for Fiction 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.

For example, after the introductory section the narrator observes, “The function of the beginning of a story is to introduce the principal characters, establish their initial relationships, set the scene for the main action,” and so forth.

Insert Plot Here “What’s all this leading up to? This is all boring, though.

Lost in the Funhouse – A Mind for Madness

You are commenting using your Twitter account. What is it with this Greek tripe? Barth’s fiction funhoude 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. 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.


In “Petition”, one half of a pair of Siamese twinsjoined at the stomach to his brother’s back, writes a petition in to PrajadhipokKing of Siam now Thailandprotesting his brother’s not jonh his existence. Modern Language Association http: Again, not to be outdone, in TitleJohn-John asks us directly to fill in the blank at least once; and in other passages, we are asked indirectly to fill in the blanks.

The layout of the story iohn weird. Lost in the Funhouse is a tough book to review, because it screams for some sort of clever, self-aware, self-reflexive metafictional review. The story becomes self-aware. Otherwise, roll up roll up. Lost in the Funhouse was my true gateway drug into the vein of postmodernism.

Lost in the Funhouse – Postmodernism

Featured in my Top 20 Books I Read in Stories which are about writing stories in which nothing happens except the author talking about how he is writing a story in which nothing happens, saying isn’t this all quite boring, but then you knew it was going to be boring because I told you it would be, and yet even as I say this you keep reading – ha ha, joke’s on you!

He starts telling all of these scenarios of how his being lost gets played out. Still worth it for these, and perhaps for much more if more patient readers excavate this further. 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.

So extremely Droste-recursive and painfully self-consciously meta-fictional there’s almost no room for any.