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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Unfortunately, like so many front-loaded albums from bands that you only kind of like, the second half was supremely tiresome. The love of his life and his older brother ran off together to another part of the funhouse. You say mean things about your father all the time, too.

By my latest count, I filled in the blank twenty-seven times. A set of stories, some clever, some so damn clever that they are almost grating.

View all 17 comments. This part ought to be dramatised. Nothing new that I can capture.

So extremely Droste-recursive and painfully self-consciously meta-fictional there’s almost no room for any. 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.

Apr 11, Matt rated it did not like it.

Lost in the Funhouse

Mar 22, Marc Kozak rated it liked it Shelves: Feb 26, Aiden Heavilin rated it liked it Shelves: Apr 05, Hadrian rated it liked it Shelves: Your arm will always be in the way funhpuse shooting directly, but the writer can take this into account and directly hit the reader. Ambrose chooses art, but he does so reluctantly. I get the bart people don’t read Barth as much anymore. Or, perhaps, I just don’t remember, or perhaps I am dreaming I lived a life where I didn’t meet Barth.


The crazy, wacky funhouse could symbolize how Ambrose has trouble finding his way out of his emotions now that Magda has gone off. While writing these books, Barth was also pondering and discussing the theoretical problems of fiction writing, most notably in an essay, “The Literature of Exhaustion” first printed in the Atlantic,that was widely considered to be a statement of “the death of the novel” compare with Roland Barthes’s “The Death of the Author”.

In fact, it had all the necessary elements of a tour-de-force: Featured in my Top 20 Books I Read in Ambrose is left all alone, betrayed, in a hall of mirrors. But with this book of stories the inventiveness is balanced out by a purpose. One way minimalism can be defined is the manner in which an author will provide the barest descriptions and ask the reader to fill in the blanks.

And there is plenty of such in Titleas when we read: As the title suggests, Ambrose gets lost in the fun house. Of course, big difference between talking johnn conflicts and actual conflicts, just as there is a big difference between reading about a fistfight and the reality of exchanging blows and coming home with a bloody nose. So, basically, I continue to find Barth interesting but rather trying. Lost in the Funhouse: Jorge Luis Borges was a primary influence, [7] as acknowledged by Barth a number of times, most notably in ” The Literature of Exhaustion “.


In bartj, Barth leads the reader in and out of seven metaleptic layers. I rated it three stars as I can see the writer has a level of talent, but it failed to interest me.

Lost in the Funhouse by John Barth.

Lost in the Funhouse by John Barth, |

Anyone that has taken a 20th century American lit course has funhiuse had to read something by Barth, and it was most likely the title story in this collection.

Ambrose His Mark and Petition were both quite remarkable and it was these exceptions that made the book almost readable. This section needs expansion. When he’s on, as in the aforementioned stories, he’s almost unbeatable, and when he’s not on almost every other story in the collectionhe’s almost unbearable. Not sure if other work by John Barth is more readable, but this book has certainly cured me of any curiosity I may have harboured.

Above all, the whole thing is a big, long mash note in love with the writing process.

Peter vunhouse Magda go off by themselves, and Ambrose is left alone in the funhouse. 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.

Barth uses the narrator to address issues of story writing — he mentions several different ways the story could end.