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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Fiction for Print, Tape, Live Voiceis so startling in its virtuosity that Barth’s place in the history of short fiction is also assured. I can go as deep as seven stories-within-stories-within-etcetera.

Lost in the Funhouse by John Barth, |

You are commenting using your WordPress. Books by John Barth. Jun 26, Lee Foust rated it really liked it. There were a few gems.

Irony and Playfulness — The first-person narrator, we can call him John-John I have no shame as I just used this silly name in a previous John Barth review tells us directly how he is required to develop a plot and theme by getting down and dirty into some serious conflicts and complications. The protagonist takes a creative writing course at a school near Johns Hopkins, taught by a Professor Ambrose, who says he ” is a character in and the object of the seminal ‘Lost hohn the Funhouse'”.

In the end, the fact that Ambrose is left all alone is very symbolic.

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.


It understands and points out the devices it is using. 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. 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.

It will not last forever. At one point my wife interrupted me to ask what I was reading, so I told her.

I found myself skimming over stories, which is never a good sign. To whom is the funhouse fun? 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. Email required Address never made public. This jhn his fractured subconscious about the experience.

Lost in the Funhouse

The postmodern bent to most of the stories contained here largely works against the author, though when employed well, is both playful and poignant. The end of the story finds Ambrose lost in the fun house of fiction, committed to it but with a sense of resignation and loss: As the title suggests, Ambrose gets lost in the fun house.

But the highs — oh, the highs! During the car ride, they play games. Lists with This Book. The third is the most metafictional of the three, with a narrator commenting on the story’s form and literary devices funhohse it progresses. May 19, Darwin8u rated it it was amazing Shelves: You are commenting using your Facebook account.

Well, yes, of course, we are here to have a good time after all. Was all that padding really necessary in the shoulders of the blazers? More important, by the end barthh realizes the direction he will henceforth take in reference to art—he will be a writer—and life, specifically in terms of sex and love.


So the first thing I did was read the out loud ones out loud, which was a blast. Lost in the Funhouse is one of my favorite books.

Lost in the Funhouse – Postmodernism

The short story collection Lost in the Funhouse and the novella collection Chimera are even more metafictional than their two predecessors, foregrounding the writing process and presenting achievements such as seven nested quotations.

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.

His problem is not simply that he is an adolescent, typically confused about sex and wary of the future, but also that he is a budding writer, a calling that will set him apart from life. A funhouse has mirrors all around. You’ve read me this far then? The stories in Lost in the Funhouse display a professorial concern with fictional form. This is what they call passion.

Everything about Barth has already been jphn, written about, alluded to, sketched on the soft walls of a thousand reflective uteruses by a million different swimming swimmers prior to drowning. I don’t know my jobn mythology, and so the constant references went over my head. Dec 30, Dxmaniac69 rated it liked it Shelves: Altogether now, chorally, “On with the Story!

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 acknowledging his existence.

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