Free PDF Lost In The Funhouse, by John Barth
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Lost In The Funhouse, by John Barth
Free PDF Lost In The Funhouse, by John Barth
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- Sales Rank: #3495129 in Books
- Published on: 1968
- Binding: Hardcover
Most helpful customer reviews
14 of 15 people found the following review helpful.
Confusing, Hilarious, Profound
By Jonathon
Lost in the Funhouse can be a very bewildering and irritating collection if you aren't in the right mood for it. If you aren't well-versed in post-modern fiction (barthelme, calvino, etc are good reference points) you might want to start somewhere else first. Even Barth's novels are more immediately digestible.
With that said, though, this collection doesn't really operate on one consistent level. Perhaps this is because many of these stories were written by Barth much earlier in his career. The three stories concerning Ambrose's birth and development are very straightforward and enjoyable on a surface level until the whole series goes flying into left-field with the titular "Lost in the Funhouse" story (which Barth is probably most known for). From that point on, most of the stories are more about the process of writing and the relationship between the reader, writer, and the characters. Stories like "Title" and "Life-Story" work more as essays on the nature of fiction than actual works of fiction, and were (for me at least) a little tedious. The best moments occur when Barth combines his thoughful analysis on the nature of writing and art with a really good ground-situation, typically based on Greek mythology. The best of these are the utterly raunchy "Petitition" and the labyrinthine "Menelaiad".
Taken as a whole, though, Lost in the Funhouse is greatly satisfying, even if (like me) you really only understood about 20% of what Barth was talking about on your first read-through. It's the sort of book I'll go back to again and again to try and delve deeper into the mystery of the funhouse while appreciating all over the hilarious bawdy humor.
Oh, and make sure to read Barth's seven additional notes at the front of the book (though maybe only after you've read the story that is being discussed in each note, so as not to ruin the initial experience)-- they really help to clarify some of Barth's intentions. I can't even imagine appreciating a story like "Glossolalia" without having read the note concerning it.
2 of 4 people found the following review helpful.
Stretching short stories
By Michael Battaglia
I will admit that there are plenty of classic masterpiece quality short stories out there, collections or otherwise. I'm just not an avid reader of them . . . maybe I just like big hefty books, maybe I don't like switching gears every twenty pages or so . . . who knows? But I do like Barth and this is pretty short so I figured, what the hey? Unlike most short story collections which generally just wait until an author has enough stories to fill a book before publishing, this book was originally conceived as a group of short stories that in some form or another share the same thematic elements and much like an album, is sequenced into a proper order and should be read that way. So he says. Barth admits in the foreword that he doesn't normally write short stories and this was his attempt at playing with the medium, which as you might suspect gives you all kinds of hit or miss stories . . . generally the quality is pretty high and for such an academic guy, Barth's pretty funny (he can respect and make fun of mythology at the same time without seeming smug or arch, which I think is hard to do) and if the humor's on, then for the most part that can carry the nuttier moments. Basically it's a "post-modern" sort of short story collection, so there aren't many compromises to things like form or structure or plot (one story is essentially a Moebius strip) which has the effect of making some stories feel like little more than academic exercises in form, rendering them a bit distant emotionally. Like looking at abstract art I guess, you can admire the technique even as you can't appreciate the emotion behind it. But when the collection works, it works great. The title story is my personal favorite, but the last one is the best of the mythology based ones (parts of this seem like a runthrough for Chimera) and overall if you're not looking for Joycean slice of life tales or knotted little tales of suspense, but instead an attempt to bend the rules a bit, then you'll probably like this. Not Barth's best work but it's short and the gems outweigh the duds by a good margin, so it could be worse.
1 of 2 people found the following review helpful.
the way we tell stories
By nonlinearize
Taken both separately and as an arranged series, these 14 stories explore the relationships between narrative, life, knowledge, creation, self and being. Like much of Barth's work, these texts wrestle with the profound implication that insight into the way we narrativize experience, into the way we make and tell stories, can actually help us understand how we perceive and live life. Deeply existential, yet also inventive and playful, Lost in the Funhouse twists and turns the established folds of form and meaning, trying to tease out something new. Where the stories succeed, they shimmer brilliantly.
In a few instances, however, the book sinks a little too far into post-modern self-referentiality, with stories about their own conception, about their own futility. While these concepts are intriguing, and Barth's examinations lively, several pages worth is often too much. Especially at first reading, such stories seem not only bewildering but also boorish, even annoying. Part of the problem is perhaps simply that such ideas are no longer new. But it's also true that some of the stories are rather obscure, so much so that the book now includes Barth's "Seven Additional Author's Notes," for needed clarification.
The stories in this slim volume, many of which are post-modern or metafictional experiments, seem inevitable, even necessary. Eventually someone was going to have to write them, and no one is perhaps more capable of exploring narrative and form in this way than John Barth. Some of the stories drag and feel a little tedious, which the reader should be prepared for, but overall, this is a challenging, rewarding and expansive book. Lost in the funhouse, indeed...
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