Lost in the funhouse. Lost in the Funhouse by John Barth 2022-11-16
Lost in the funhouse Rating:
Lost in the Funhouse is a short story collection written by John Barth and published in 1968. The title story, "Lost in the Funhouse," is a metafiction that explores the concept of identity and the role of the author in constructing it.
The story follows a young boy named Ambrose as he wanders through a funhouse at the beach. As he moves from one room to the next, Ambrose becomes disoriented and begins to lose track of time and his own sense of self. The funhouse mirrors and distortions only serve to confuse him further, and he becomes "lost" in the labyrinth of his own mind.
One of the central themes of the story is the idea that identity is not fixed, but rather a constantly shifting construct. Ambrose's journey through the funhouse mirrors the process of self-discovery that we all go through as we grow and change. The funhouse, with its confusing and disorienting mirrors, represents the many different facets of our identity and the ways in which we try to make sense of them.
Another theme of the story is the role of the author in constructing identity. As Ambrose wanders through the funhouse, he begins to question who he is and what his place in the world is. In doing so, he becomes aware of the presence of the author, who is described as a "funhouse master" who controls the various rooms and attractions. The author, in this case, represents the outside forces that shape and influence our identity.
Overall, "Lost in the Funhouse" is a thought-provoking and evocative story that explores the complex and ever-changing nature of identity. It invites us to consider the ways in which we construct and understand ourselves, and the role that others play in shaping who we are.
Lost in the Funhouse Summary & Study Guide
Of course, big difference between talking about 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 the first thing I did was read the out loud ones out loud, which was a blast. Barth uses the narrator to address issues of story writing — he mentions several different ways the story could end. Perhaps, I did go to Johns Hopkins and I did meet Barth in another story in another life. The high-browne One's enjoyment of this collection may depend on one's enthusiasm for wordplay. Maximalism — Thou shall leave no literary device unturned. Got to hand it to you Sir John, you are a maximalist with a vengeance! The third is the most metafictional of the three, with a narrator commenting on the story's form and literary devices as it progresses.
Although I wonder less if I might be a character in a novel than how I can become a character in a novel. Again, not to be outdone, in Title, John-John asks us directly to fill in the blank at least once; and in other passages, we are asked indirectly to fill in the blanks. Otherwise, roll up roll up. In fact, it had all the necessary elements of a tour-de-force: a purloined apiary, ontological gamete theory, article adjective noun, a metaphor that looked like a simile. He wants to tell Magda that he loves her.
Simple enough: a coming-of-age tale. 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. Are they assimilable to one another in these terms? Minimalism — As it turns out, this John Barth collection includes a life story compressed into fourteen pages and an autobiography boiled down into six pages. Then he wishes he were dead. Read these lines for all you need to know about the story, '''''''''Why? Music made the same mistake two decades earlier when Hermen's Hermits outsold Motown's finest despite all those British blokes endlessly covering Smokey Robinson.
Then I got into the character of Ambrose, who appears in a few stories. I only know Laocoön, from above, for example, because he is one of my favourite statues in the Vatican. As an entire collection, Lost in the Funhouse comments on what the author believes to be overused writing techniques as he gives his own fresh spin on how fiction should be written, read, heard, and performed. His problem is not simply that he is an adolescent, typically confused about sex and wary of the future, but also that he is a budding writer, a calling that will set him apart from life. The function of the beginning of a story is to introduce the principal characters, establish their initial relationship, set the scene for the main action. It is not love that sustains me! I wouldn't recommend even bothering without reading The Odyssey or The Iliad.
Frame-Tale -- How to write fiction with scissors in many fewer hours than that other guy with his whole cut-up thing that no one wants to read. 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. Not only does it represent his love life, but also his awkward stage in life is like a funhouse: nothing makes sense. Despite being billed as a connected series, this collection covers a lot of relatively unconnected ground, veering between personal narrative, self-reflexive formal pyrotechnics, and re-constructed mythology. Barth kept a list of the tasks taped to his wall while he was writing the book. Stories which are about writing stories in which nothing happens except the author talking about how he is writing a story in which nothing happens, saying isn't this all quite boring, but then you knew it was going to be boring because I told you it would be, and yet even as I say this you keep reading - ha ha, joke's on you! 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! In each piece, traditional stories from mythology are retold in a fresh way that pays homage to the original stories. No kidding — I did the counting myself.
The crazy nature of the story makes the story a funhouse in itself. Such are the mysteries of history and the mistakes that a cultures makes. It was full of inter-textual and metafiction notes - in other words the author talking to himself about how the reader should or could interpret his works, his choices of words, his choices of plot devices, etc. This soi-disant landmark in experimental fiction was stuffed with endless exercises in indulgence, vague and rambling stories, pretentious non-sequiturs and assorted Greek gibberish. Yet, there are points when his esoteric noodling will become inscrutable for Cro-magnon readers like yours truly. Magda becomes the object of his sexual awakening, and he feels the need to do something about it, if only barely to touch her. The Library of Babylon : Jorge Luis Borges The Aleph : Jorge Luis Borges He takes absolutely mental ideas and applies a freezing cold, scholarly logic to them.
INTRODUCTION · Lost & Found in the Funhouse: The John Barth Collection · Exhibits: The Sheridan Libraries and Museums
Still worth it for these, and perhaps for much more if more patient readers excavate this further. Leopards in the Temple: The Transformation of American Fiction, 1945-1970. This collection is — it says here - a major landmark of experimental fiction. Reading this collection made me mad at my undergraduate profs from San Francisco State from the early 1980s who never bothered to teach me that Postmodern Literature Well, the postmodern novel not only existed in America but was born in America. John Barth is considered one of the premier American post-modern writers and his fiction has been studied extensively over the past 50 years.
Will that drive you mad? And it will get worse. I love I read this over a span of several weeks, really. At least there were no characterizations that bugged me as much as in Giles, Goat Boy I read this over a span of several weeks, really. Can nothing surfeit, saturate you, turn you off? This section contains 579 words approx. .
Everything about Barth has already been transmitted, written about, alluded to, sketched on the soft walls of a thousand reflective uteruses by a million different swimming swimmers prior to drowning. Ambrose is very nervous because he likes Magda. I finally found this copy and a copy of Giles Goat-Boy in my favourite second-hand bookshop the other week. You've read me this far then? The author makes connections between the contemporary stories of Ambrose Mensch and the ancient stories of mythology, showing human nature and storytelling have not changed much through the centuries. Can nothing surfeit, saturate you, turn you off? People are going to find this review inevitably off-putting, Sentimental Surrealist.