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. 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.

Author: Babei Juramar
Country: Eritrea
Language: English (Spanish)
Genre: Technology
Published (Last): 28 March 2007
Pages: 85
PDF File Size: 10.56 Mb
ePub File Size: 15.57 Mb
ISBN: 199-1-47341-682-7
Downloads: 97086
Price: Free* [*Free Regsitration Required]
Uploader: Virisar

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 ,ost and contemporary storytelling.

Print this article Print all entries for this topic Cite this article. One way minimalism can be defined is the manner in which an author will fuunhouse the barest descriptions and ask the reader to fill in the blanks. Additional support to the sextet theory: Just look at the opening story, “Night-Sea Journey.

Lost in the Funhouse |

In fact, she likes to tease her sons because of their attention to Magda. But what of this: I was mostly eager to jump to interesting fragments such as this: Once upon a time there was a review that began: The Sot-Weed Factor is what Northrop Frye called an anatomy — a large, loosely structured work, with digressions, distractions, stories within stories, and lists cunhouse as a lengthy exchange of insulting terms by two prostitutes. Apr 24, Edward rated it it was ok Shelves: Dear Mr Barth, As I yet again write you a letter in a review of a book about writing about writing about writing sigh!

He is not going to make you eat your short fiction or even make you shoot Chekhov’s gun sitting on the fictional wall next to you. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.


Up through titular funhousw p94 everything was working for me. All in all — worth it for the handful of standout stories, but not as great as I was hoping it’d be going into it.

Several stories were written with intention to be consumed in Lost in the Funhouse was my true gateway drug into the vein of postmodernism.

A half-man, half-goat discovers his humanity and becomes a savior in a story presented as a computer tape given to Barth, who denies that it is his work. Whose notions are these, and how can we tell? The story ar I believe that John Barth’s “experimental novel” was a failure from beginning to end. From Wikipedia, the free encyclopedia. I exist only in the imagination, though in between I am written down. And on the day of the story, even the sensitive hero is uncomfortable to think that a colored boy might help him through the funhouse.

Both Peter and Magda had been through it before, the narrator says, but perhaps they are seeking just to repeat the experience, not to have a new one. We have all been through it. There is no linear narrative other than a few chapters with the same character Ambrose and his own set of neuroses. The boardwalk is a begrimed paradise to which there is no return: Each story can be considered complete in itself, and in fact several of them were published separately before being collected.

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 an absolute knockout in the middle, John Barth’s Lost in the Funhouse astonishes and disappoints in almost equal measure. The story ends by answering the question posed by its beginning. Once would have been interesting but it happens several times. Jan 11, Garima rated it liked it Recommended to Garima by: 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”.


It is a path Ambrose would like to take but cannot. Suffice to say that if one is enough of a trouper to soldier through the middle section, there’s a big pay-out.

Such are the mysteries of history and the mistakes that a cultures makes. Specifically, he understands that his crippling self-consciousness also comes with a gift, an extraordinary imagination. Retrieved December 31, from Encyclopedia.

But what is the point of all this? He’s doing a little Barth-homage Then B– comes out of it and into something entirely teh in the penultimate and tailpiece: Print this article Print all entries for this topic Cite this article. Nothing new that I can capture.

I keep thinking that these language games are becoming dated, though.

Lost in the Funhouse

What was I thinking? One hates to use the inverted logic of some modern criticism more in the plastic arts than in literature which suggest that a difficult and obscure work is in fact a simplification, a return to basics. But to approach the story on that level alone—technical problems invented, technical problems solved—is surely a mistake, for that takes much of the fun out of the funhouse.

What we have here is a form of stream-of-consciousness.