Lost in the Funhouse

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Book by John Barth

0 pages, Unknown Binding

First published January 1,1968

Literary awards

About the author

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John Barth briefly studied "Elementary Theory and Advanced Orchestration" at Juilliard before attending Johns Hopkins University, received a bachelor of arts in 1951 and composed The Shirt of Nessus, a thesis for a Magister Artium in 1952.
He served as a professor at Penn State University from 1953. Barth began his career with short The Floating Opera, which deals with suicide, and The End of the Road on controversial topic of abortion. Barth later remarked that these straightforward tales "didn't know they were novels."
The life of Ebenezer Cooke, an actual poet, based a next eight-hundred-page mock epic of the colonization of Maryland of Barth. Northrop Frye called an anatomy, a large, loosely structured work with digressions, distractions, stories, and lists, such as two prostitutes, who exchange lengthy insulting terms. The disillusioned fictional Ebenezer Cooke, repeatedly described as an innocent "poet and virgin" like Candide, sets out a heroic epic and ends up a biting satire.
He moved in 1965 to State University of New York at Buffalo. He visited as professor at Boston University in 1972. He served as professor from 1973 at Johns Hopkins University. He retired in 1995.
The conceit of the university as universe based Giles Goat-Boy, a next speculative fiction of Barth comparable size. A half-goat discovers his humanity as a savior in a story, presented as a computer tape, given to Barth, who denies his work. In the course, Giles carries out all the tasks that Joseph Campbell prescribed in The Hero with a Thousand Faces. Barth meanwhile in the book kept a list of the tasks, taped to his wall.
The even more metafictional Lost in the Funhouse, the short story collection, and Chimera, the novella collection, than their two predecessors foreground the process and present achievements, such as seven nested quotations. In Letters, Barth and the characters of his first six books interact.
Barth meanwhile also pondered and discussed the theoretical problems of fiction, most notably in an essay, "The Literature of Exhaustion," first printed in the Atlantic in 1967, widely considered a statement of "the death of the novel" (compare with Roland Barthes's "The Death of the Author"). 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. He later (1979) a follow-up essay, "The Literature of Replenishment," to clarify the point.
Barth's fiction continues to maintain a precarious balance between postmodern self-consciousness and wordplay on the one hand, and the sympathetic characterisation and "page-turning" plotting commonly associated with more traditional genres and subgenres of classic and contemporary storytelling.

Community Reviews

Rating(3.9 / 5.0, 99 votes)
5 stars
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99 reviews All reviews
July 15,2025
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"Short fiction is not my long suit." - John Barth, Foreword to LITF

Got that right, John.

Okay, so there's no fun to be had in this collection of stories. It seems as if Barth woke up one Tuesday morning and randomly decided, "I think I'll write experimental short stories today." Then he went on to haphazardly attach experimental fiction clichés and accessories - those that a mainstream writer who doesn't truly understand experimental fiction might imagine - to his otherwise mainstream and banal fiction. He摆弄着形式元素,却根本不知道如何运用它们。

If you happen to read this book, you'll see what I mean right away.

Pass.

It's truly a disappointment. The stories lack the depth and innovation that one might expect from an experimental work. Instead, they come across as forced and contrived. Barth's attempt to blend the mainstream with the experimental falls flat, resulting in a collection that fails to engage or inspire the reader. It's a shame, really, as there was potential here that was unfortunately not realized.
July 15,2025
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I threw in the towel at page 130.

Once again, I was explicitly made fun of for continuing to read it.

This is objectively terrible.

It goes beyond the limits of annoyance that John Barth knows I know it's terrible.

The constant ridicule and the realization that the work is of such poor quality have finally worn me down.

I can no longer tolerate the frustration and disappointment that comes with persevering through this text.

At this point, I have decided to give up and move on to something more worthwhile.

Perhaps there are other works out there that will engage and inspire me, rather than leaving me feeling insulted and dissatisfied.

It's a pity that this particular book has failed to meet my expectations, but such is the nature of reading and exploration.

Sometimes we encounter duds, and it's important to recognize when it's time to cut our losses and seek out better literary experiences.

July 15,2025
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Lost in the Funhouse by John Barth is a remarkable collection of short stories that was initially published in the late sixties.

The stories within this collection are interconnected as they explore similar themes. They can be best characterized as meta-stories or stories about stories. For instance, there is a story where a writer speculates that he might actually be a character in a story. Another is presented from the perspective of the story itself. In this manner, Barth showcases a series of stories as if they are seen through a funhouse mirror, with each being distorted in its own unique way.

Although the stories in this collection are inventive and, at times, clever, I would find it challenging to recommend this book to a friend. Some passages are extremely difficult to read. In "Glossolalia," an entire paragraph is transformed into unintelligible gibberish. The pinnacle of this reader-abusive behavior occurs in "Life-Story" with the following passage:

"The Reader! You, dogged, uninsultable, print-oriented bastard, it's you I'm addressing, who else, from inside this monstrous fiction. You've read me this far, then? Even this far? For what discreditable motive? How is it you don't go to a movie, watch TV, stare at a wall, play tennis with a friend, make amorous advances to the person who comes to your mind when I speak of amorous advances? Can nothing surfeit, saturate you, turn you off? Where's your shame?"

Despite the arduous parts of the book that are difficult to slog through, there are some genuine gems hidden within. Particularly, the title story stands out. In it, Barth tells what appears to be a simple story of a boy who gets lost in a funhouse. However, not content with a straightforward narrative, he dissects and critiques the story as he unfolds it. The combination is jarring, giving the impression of a story being bounced between its original form and a funhouse mirror that reveals the story's inner workings while altering its overall shape.

This collection is a complex and thought-provoking work that requires patience and a willingness to engage with its challenging aspects. While it may not be everyone's cup of tea, those who are willing to persevere will discover a rich and rewarding reading experience.
July 15,2025
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Read as part of the assigned reading for the Open Yale Course - ENGL 291: The American Novel Since 1945 / Amy Hungerford.

To be honest, this particular reading material is not my cup of tea. It just doesn't seem to resonate with me on a personal level.

I find it difficult to engage with the content and I don't have a lot of enthusiasm for it. As a result, I can't really give it any star ratings.

Maybe it's because the style or the subject matter is not something that interests me. Or perhaps I'm just not in the right frame of mind to appreciate it at the moment.

Either way, I'll continue to do my best to understand and analyze it as part of the course requirements, but it's not something that I'm really looking forward to reading again.
July 15,2025
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An author-recommended book that ended up being a real letdown. Barth meanders in short story form, droning on about how difficult it is for him to write anything comprehensible (thus, "Lost In the Funhouse"). Amid this chaos, there are two captivating short stories, but otherwise, it's just an egotistical and arrogant stream-of-consciousness lament circa the mid-1960s. Multiple times throughout the second half of the book, he poses the question to the reader as to why they're still reading and then inserts himself into Greek mythological settings to gripe even more about life.


It somehow earned him a nomination for the National Book Award, though what that's truly worth is debatable. The truth is, I likely would have relished reading more of his legitimate short stories if only he could have accepted the fact that he was proficient at writing short stories. There's so much to loathe about late 1960s literature.

July 15,2025
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This book is truly a remarkable piece of work. It is extremely well crafted, with a depth that engages the reader on multiple levels. The stories are not only interesting but also highly original, offering a unique perspective on various themes.

However, I did notice a few points of misspelling or repetition that seemed out of place. It made me wonder if the editor was perhaps asleep during the proofreading process. But then again, maybe there is some deeper meaning to these imperfections that I am simply oblivious to.

Overall, the short pieces in this book are for the most part incredible. Only one or two of them can be considered tiresome postmodern dreck, but that might just be because I am a bit of a philistine. Or perhaps it's because I have a chip on my shoulder when it comes to certain forms of postmodernism that I find masturbatory, sterile, introverted, and annoying.

Mostly, I was highly impressed with the execution of the pieces in this work. The second story, "Night-Sea Journey," was a great introduction and definitely a prime example of metafiction. The postmodern aspects of this book are often valid and add an extra layer of complexity to the reading experience.

For instance, the bit of masterful metafiction quoted here is truly outstanding: "The reader! You, dogged, uninsultable, print-oriented bastard, it's you I'm addressing, who else, from inside this monstrous fiction. You've read me this far, then? Even this far? For what descreditable motive? How is it you don't go to a movie, watch TV, stare at a wall, play tennis with a friend, make amorous advances to the person who comes to your mind when I speak of amorous advances? Can nothing surfeit, saturate you, turn you off? Where's your shame?" (127)

Well, John Barth, you definitely got me there. Your most miserable, introspective, inverted, precious meanderings didn't turn me off from the awesome pieces that you clearly laboured over. The Anonymiad and Menelaid were great notes to close on, each a pleasure to read. I left my shame around the beginning of the book and never looked back.

Sometimes, though, I was close to throwing your book at the wall or putting it down in favour of something less sterile. But you always managed to come back from your weaker moments and demonstrate that postmodern fiction doesn't have to be a feeble half-step towards a valid new style.

I highly recommend this book to those who can stomach it. And of course, to scholars as well. Et cetera (Barth almost killed my sympathy for that particular Latin phrase).
July 15,2025
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3.5 Stars.

This book of short stories initially had me completely bored to death. It was really slowing down my progress, especially since I had expected it to be a quick and easy read.

However, things took a rather unexpected turn when there was a story about conjoined twins having sex, with one of them being worried about being absorbed by the other. This strange and rather shocking tale really caught my attention.

After that, it was just a series of meta-fictional bangers and oddball tall tales. Each story seemed to be more outlandish and interesting than the last.

Overall, it was truly a fun read. I found myself getting lost in this funhouse of short stories, but somehow I managed to find my way to the end. And I have to say, I'm really glad I did. It was a wild and crazy ride that I won't soon forget.

July 15,2025
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This place is truly a funhouse!

Why? Because of all the amazing and enjoyable words you'll encounter while reading within it.

It's like a magical realm where each word is a little treasure waiting to be discovered.

As you turn the pages, you'll be filled with excitement and anticipation, eager to see what wonderful words will come next.

The good words in this funhouse have the power to transport you to different worlds, make you laugh, or touch your heart.

They are like a symphony of letters, creating beautiful melodies in your mind.

So, come on in and explore this funhouse of words.

Lose yourself in the joy and wonder that awaits you.

You'll be glad you did!

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