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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It breaks every Rule of Storytelling you’ve ever read, and if you hate the formalists and would rather read the old masters who can be everyone from Harper Lee to Jane Austen, just so’s they wouldn’t touch metafiction with a ten-foot poleyou’re out of luck here.

Ambrose takes a trip with his family to Ocean City, Maryland. This all emphasizes the main effect Barth is striving for. Sig Dear Mr Barth, As I yet again write you a letter in a review of a book about writing about writing about writing sigh!

Feb 03, Nathan “N. No kidding — I did the counting myself.

Lost in the Funhouse

The devices serve a purpose funhousf are usually humorous. Barth has since insisted that he was merely making clear that a particular stage in history was passing, and pointing to possible directions from there.


This is not a perfect series by any means and never meant to, especially with all those literary gymnastics, most of which ended in a nasty fall. On with the story!

Feb 26, Aiden Heavilin rated it liked it Shelves: There are many other features of Barths fiction that I could have analysed but for me, I wanted to explore Barths attitude to postmodernism and the ways that he sought to demonstrate his ideas. Barth is sometimes too clever for his own good, but he’s always an optimistic, fascinating writer, and I enjoyed those stories First, an admission: Sep 16, MJ Nicholls rated it it was ok Shelves: Lost in the Funhouse: It is scary and confusing for Ambrose?

He is at that awkward, thirteen-year-old time in his life.

bwrth 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. Another aspect of the verbal trickery of the story is to somehow assert the primacy of language to experience. Such are the mysteries of history and the mistakes that a cultures makes.

Lost in the Funhouse Summary – Schoolbytes

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 funhouwe similar; in my way and with my materials. Johnn first story is told in first person, leading up to describing how Ambrose received his name.


With Life Story and Menelaiad came this huge tsunami of almost everything meta one can think of. Perhaps, I could have met Barth. The result looks something like this: I don’t know my greek mythology, and so the constant references went over my head. In doing this he is actually creating new and original devices. The title story of course is the biggest strength of this book, which is deftly handled with judicious mix of content, meta techniques, metaphorical significance and at the same time, is engaging enough to hold the interest of a reader.

Closer “Anonymiad” is the only one with any kind of story-form equilibrium. If this were a collection of short stories billed as a collection of short stories, I would feel less disdain towards the author.

Lost in the Funhouse is a short story collection by American author John Barth. It says so much about our expectations of literature, and the relationship between the writer and reader! Mar 22, Marc Kozak rated it liked it Shelves: It fnhouse these comments that are the humorous meta-fictional devices. I didn’t read the final two stories.