LOST IN THE FUNHOUSEby John Barth, John Barth is no doubt best known as a novelist, but his one collection of short stories, Lost in the Funhouse. 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 by John Barth. BACKGROUND. John Barth is best known for his wit and clever use of language. He wrote short stories like “Lost in the.

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They all are part of some equations or formula Barth wants joyn to put together. He recalls during the sex act “standing beside himself with awed impersonality. To be moved to art instead of to action by one’s wretchedness may preserve one’s life and sanity; at the same time, it may leave one wretcheder yet.

This book- 3 Stars- I merely Liked it. I’m not writing this. Fiction for Print, Tape, Live Voiceis so startling in its virtuosity that Barth’s place in the history of short fiction is also assured. The postmodern bent to most of the stories contained here largely works against the author, though when employed well, Bookended almost with two rather exceptional stories, “Ambrose His Mark” and “Anonymiad”, with ln absolute knockout in the middle, John Barth’s Lost in the Funhouse astonishes and disappoints in almost equal measure.

He wants to tell Magda that he loves her. Then the kids go in the funhouse. It’s all very well to dive into the deep end now and then, but I will only follow you so long as you have a good reason for being there. Barth is known for his jn meta-fictional devices and influence on writers mentioned previously like Pynchon, Wallace, and probably any serious post-modernist.


Lost in the Funhouse by John Barth

bath You are commenting using your Facebook account. I’m no classicist, but I would think I’d know enough to navigate these reasonably well, but they seem to get lost in manipulating own ersatz period mechanics. The last line of the story kost that, for writers, or those who create rather than experience, there exists an emptiness — Ambrose, and perhaps Barth, as an author, realized that he will be forever in the role of “constructing funhouses for others,” never in the role as the lovers who are allowed inside.

Once upon a time there was a review that began a. Suffice to say that if one is enough of a trouper to soldier through the middle section, there’s a big pay-out. The mirrors in the funhouse could be seen as fragments of Ambrose — he is fuhhouse with images of himself, with no way out.

End of the Road. Several characters, such as Ambrose of ” Lost in the Funhouse ” reappear throughout the collection, but largely, this is an experiment in both fictional structure as post as interpretive form.

Re-read the passages quoted 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 Barth books. This territory johj been explored with twice the panache by Gil Sorrentino. That’s reason enough to read it. This collection is — it says here – a major landmark of experimental fiction. Ambrose is left all alone, betrayed, in a hall of mirrors.

Come on, of course this is what it is talking about. Apart from this, Night sea journey, Petition, Autobiography- A self recorded fiction, Title are few others which I enjoyed and the use of language in most of them is very impressive. Or at least there was for me.

It’s all very clever, but the content, for me, sometimes fails to keep pace with the clevern As critics decried the Death of the Novel, Death of the Story, Death of the Author, Death of et cetera, Barth took it upon himself loost revel in the debris, causing further destruction in the process. Lost In The Funhouse; Fiction For Print, Tape, Live Voice is John Barth’s response to a gauntlet Marshall McLuhan was throwing down back in the heady days of the sixties regarding the immanent demise of the work of art as printed text and the subsequent decline in the fortunes of the Gutenberg family.


Lost in the Funhouse

Here goes with my linking Title with a batch of major themes in the world bafth the postmodern: 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 main dude of the story. Barth makes me sometimes regret my decision to not go to Johns Hopkins. It’s not me speaking to you. However, considered alongside the theories I have discussed on this website, another layer of interpretative reading materialises that, I believe, secures Barths postmodern presence within a much wider contextual standing. It was not really a pleasant read but as it was on the Yale Online Course “American Literature after “, I wanted to read it.

But after tapping many the literary device in a string of doorstopper novels, he wanted to, by golly, get his fiction in those collections of short stories, the kind of books he always uses to teach from. On from ” https: