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 FUNHOUSEby John Barth, John Barth is no doubt best known as a novelist, but his one collection of short stories, Lost in the Funhouse. LOST IN THE FUNHOUSE. JOHN BARTH. Lost in the Funhouse. For whom is the funhouse fun? Perhaps for lovers. For Ambrose it is a place of fear and.

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Anchor; Reissue edition March 1, Language: The story arc was disjointed and author often left gaping chasms in the list. The story is an example of metafiction, as are most others in the collection, for it is not only about Ambrose’s trip to the park but also about writing a story about Ambrose’s trip to the park.

The middle story plays a brain-busting game with the metafiction format, though the content sags badly. 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.

For what discreditable motive? The funhouse is a huge part of the story.

Lost in the Funhouse Summary – Schoolbytes

I am experiencing it. Get to Know Us. Character Ambrose will be recycled there. This is him at perhaps his best, although Sot-Weed Factor is a staggeringly brilliant funyouse. Strive as he might to be transported, he heard his mind take notes upon the scene: Don’t have a Kindle?


Jan 20, Franco Santos rated it really liked it Shelves: 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. Preview — Lost in the Funhouse by John Barth.

Amidst the post-everything mulch in The Anchor Book of New American Short Stories this one stood out like a tarantula on a slice of angel cake.

What was I thinking? 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.

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But like many a cd I have purchased, the two good ones were worth the joyn of entry. Amazon Renewed Refurbished products with a warranty. His first-person narrative voice disregards the already-established third person omniscient narrator and thus, unnerves the readers preconceived notions of how a story should told within a text.

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. He wrote a novel to himself. Barth’s lively, highly original collection of short pieces is a major landmark of experimental fiction. May 30, Glenn Russell rated it it was amazing.

Such are batrh mysteries of history and the mistakes that a cultures makes. John Barth – ‘Lost in the Funhouse’ Lists with This Book. Among Barth’s detractors, John Gardner wrote in On Moral Fiction that Barth’s stories were immoral and fake, as they portrayed life as absurd. Ambrose takes a trip with his family to Ocean City, Maryland.


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There are instructions by the author of which stories should be read out loud and which ones should have come recorded onto tape, of course none of them are. I actually enjoy metafiction, but it was really very hard to keep reading this absurd collection of stories. 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.

Though many of the stories gathered here were published separately, there are several themes common to them all, giving them new meaning in the context of this collection.

You’ve read me this far then? For all the evils of postmodernism there is a vibrant allure about some of the earlier works, a sense of wonder, and limitless imagination – stories with no rules.

But the ideas behind the stories are powerful and force you to approach ficton in a new way. Or I could cull from my other reviews, mention how I reviewed The Big Sleep in the style of Raymond Chandler, but who wants to read that?

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