There are a few stories in here that are beyond my understanding (Glossolalia) or so intentionally boring I couldn't finish them (Title). However, the majority of the stories are so wonderful that in aggregate I think this is one of my favorite books so far this year.

My three favorites were Night Sea Journey, Lost in the Funhouse, and Menelaiad.

Menelaiad was the most work I have done reading in ages. But boy was it rewarding. The story has seven levels of dialogue and uses nested quotes to organize them. Menelaus is telling a story about him telling a story about etc. Here's an example:

 \\"'\\"'....My crew grew restive; when the storm was spent and I had done flogging me with halyards, I chose a moment somewhere off snaked Libya, slipped my cloak, rapped at Helen's cabin and in measured tones declared: \\"Forgive me.\\" Adding firmly: \\"Are you there?\\"
\\"'\\"'\\"Seasick,\\" she admitted. \\"Throwing up.\\" To my just query, why she repaid in so close-kneed coin my failure to butcher her in Troy, she answered-\\"
\\"'\\"'Let me guess,' requested Proteus.\\"
\\"'\\"What I said in Troy,\\" said offshore Helen. \\"What I say to you now.\\"'
\\"'Whatever was that?' Pressed Peisistratus.\\"
\\"Hold on, hold on yet awhile, Menelaus,\\" I advise.
I'm not the man I used to be.

This excerpt is 5 different levels of conversation interacting with each other. The whole 40 page story is like this (and gets up to 7 layers deep, not including the top layer), and uses nesting to hilarious effect, with listeners at various levels mis-interpreting dialogue at deeper levels either because they don't have complete context or because in every level the story is dominated by one story-teller who you can't trust.

Sometimes, a piece of dialogue said at the lowest-level story reverberates all the up to the top - the energy of the words spoken cut through every level and you can feel the audiences at each level reacting. One of these moments wasn't even a word, but a climactic silence. I've never in my life read a more convincing silence (how does one express writing in silence without writing something glib like \\"then there was silence\\"? This is how).

The story has something important to express about how and why people in a relationship love each other, and it would be worth reading even without all of the clever/charming literary tricks. The relationship between Helen and Menelaus is hilarious and heartfelt. This is especially important, because after the puzzle has been solved, the story still has something important to offer.

Other short stories are valuable for very different reasons. I don't have the energy to get into why I loved the others so much, but at least I have my margin-notes to look to. This is a book I look forward to reading again.

In addition to the complexity and charm of Menelaiad, the other stories in this collection also have their own unique qualities. Each one offers a different perspective, a different theme, or a different literary device that makes it stand out. Some of them are humorous, some are tragic, and some are thought-provoking.

Overall, this book is a wonderful read. It challenges the reader's mind, engages the emotions, and leaves a lasting impression. I highly recommend it to anyone who loves literature and enjoys a good story. Whether you're looking for something to escape into or something to stimulate your intellect, this book has something to offer.

Lost in the Funhouse began on a promising note, captivating my attention with its diverse meta-fictional ploys. I'm quite susceptible to such tricks, but soon it seemed to rely solely on them, which went a bit too far for my personal preference. This is by no means a flawless series, nor was it ever intended to be, especially with all those literary acrobatics, many of which ended rather clumsily. I'm quite open to these experimental and postmodern writings, but in most cases, I strive not to overlook the content, and that's where my main issue with this book lies.

John Barth noted in the author's note that this book should not be regarded as a short story collection but as a series and thus required to be received "all at once". I failed to do so, except for a few stories that are also my favorites. The title story is undoubtedly the book's greatest strength, deftly handled with a judicious blend of content, meta-techniques, metaphorical significance, and at the same time, engaging enough to maintain a reader's interest. This piece can serve as an excellent introduction for any Barth novice. It also inspired Wallace's novella Westward the Course of Empire Takes Its Way from Girl with Curious hair. Besides this, Night sea journey, Petition, Autobiography - A self-recorded fiction, Title are some others that I enjoyed, and the use of language in most of them is very impressive. By this time, one becomes comfortable with the fact that he/she/it is reading someone who is intelligent, witty, highly innovative, and most importantly, very original.

After that, the book took a downward turn for me, not because of a lack of interesting elements but due to uninteresting subject matter with which I could not connect in any way. I've read Greek Myths, but I wonder if that knowledge would have alleviated my reading experience. For example, I'm well-versed in the Narcissus myth, yet I didn't understand a single word of Echo, where Barth relates the content of this myth, especially regarding the'self-reflection' factor. In my humble opinion, the analysis of this particular story is much more interesting.
With Life Story and Menelaiad, came a huge wave of almost every meta-element one can think of. It's fascinating, for sure, but only in parts. I was mostly eager to skip to interesting fragments like this:

\\n  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?\\n

He's such a Smart Alec! But some were just too much to stomach. For instance, this:

\\n  " '(\\"(('(((\\" 'Well...' \\")))'))\\")'
\\" ' \\" ' \\" 'He asked Prince Paris -' 'You didn't!' \\" \\"By Zeus!\\" ' 'By Zeus!' \\" \\"You didn't!' ' 'Did you really?' \\" \\"By Zeus,\\"\\n

Yes! There's a brutal dissection of punctuation marks going on in the above text. I admire grammar, but not that much.
So, overall, it was a modest start for me in Barth's wonderland, and I'm hopeful that his other works will prove to be much more balanced and charmingly innovative. In fact, some sources claim that the same self-reflection factor in his story Echo is used in a more creative way in The Sot-weed factor and Giles Goat-boy, which I will definitely look forward to reading. This book - 3 Stars - I merely Liked it.

Well, to be quite honest,

I discovered this book to be nearly as excruciating as Georges Perec's La Disparition (reviewed here on GR).

It was rife with inter-textual and metafiction notations - that is to say, the author was essentially chatting with himself about how the reader ought to or could construe his works, his word choices, his selections of plot devices, and so forth.

There is no straightforward narrative save for a few chapters featuring the same character Ambrose and his own set of neuroses.

I can fathom why the book was somewhat revolutionary - especially in the notoriously difficult-to-read section Menelaiad where he quotes within quotes within quotes and the Anonymiad which is once again some rather convoluted writing about writing about writing.

It was not truly a pleasurable read, yet since it was part of the Yale Online Course "American Literature after 1945", I felt compelled to peruse it.

Not certain if other works by John Barth are more accessible, but this particular book has most definitely quenched any curiosity I might have entertained.

I can handle intertextuality in DFW and to a certain extent in Gaddis or Pynchon, but in Barth it became as distracting as the absent 'e' in La Disparition.

Bart plays with the text and invites you to the game.

This collection is not something overly complex and intimidating. For normal reading, no additional preparation or in-depth knowledge of history, mythology, or quantum mechanics is required.

Bart is happy to share all the necessary knowledge with you and kindly gives you the opportunity to participate in this celebration of the fluid literary form.

It's like a paper park of entertainment, where you can see how the story writes itself, how it becomes self-aware, how the author writes the story in real time, countless metaphors on the theme of the creator and his creation (of course, the author and the text, because where would this act be without the reader), as well as two prefaces and seven additional notes.

Particularly, it is worth highlighting "Menelaiad" and "Anonymiad". In the former, Bart travels between stories and juggles with time frames. He vividly imagined this in the form of a theatrical production.

The final "Anonymiad" gives us the opportunity to look at the events of the Trojan War from the perspective of an unknown young minstrel, whose ambitions drowned in the stream (wink) of history.

That's how it is. If your heroes don't bring hecatombs to the gods and you yourself only cut a kid. 10 out of 10 for metaphysics.

Stressful, difficult, and often unrewarding - these are the words that come to mind when thinking about certain aspects of life.

Night-Sea Journey presents some fascinating philosophy regarding creation in all its manifestations, yet the story itself seems to be lacking. It's as if the ideas are there, but they don't quite come together in a cohesive narrative.

Lost in the Funhouse, on the other hand, is an actual story (sort of). However, it is marred too often by post-modern notes. If the intention was to write a story that emphasizes the boundaries of what a story can truly be, then this one hits the mark. It also brings to mind If on a Winter’s Night a Traveler.

As for the rest, I could do without them. Some I have read and already forgotten, while others I will not bother to read at all. There are just so many other things vying for our attention, and these particular works don't seem to offer enough to warrant the investment of time and energy.

Perhaps there are hidden gems among them that I have overlooked, but for now, I'm content to focus on other literary pursuits.

Real talk. I bought this book because my critical theory professor had a deep love for John Barth, and I had a bit of a crush on my critical theory professor.

This was way back in the year 2000. I was in San Francisco visiting friends. On June 9, 2000, at 3:56 pm, I purchased this book at City Lights Bookstore. I remember this clearly because the receipt was still tucked inside the book. During that same road trip, we also stopped at Smith Family Bookstore in Eugene, Oregon, and, I think, Powell's in Portland. Because that's how us nerds go on vacation.

Also purchased at City Lights during that same transaction were:

* Timequake, by Kurt Vonnegut

* A Confederate General from Big Sur, Dreaming of Babylon, and the Hawkline Monster, by Richard Brautigan

* View with a Grain of Sand: Selected Poems, by Wisława Szymborska

The Vonnegut book I bought for myself and really enjoyed it. It had only been published three years before, and it was the first and probably only Vonnegut book I read while it was still new. I bought the other two books on the advice of my friend Emily. I found the Szymborska poems to be wonderful, but I haven't gotten around to reading the Brautigan yet. And then there's the Barth book, and here we are right now.

All that to say, the circumstances surrounding the purchase of this book are far more meaningful to me than its actual contents. The book is a series of very loosely interconnected short stories that are composed mainly of post-modern nonsense and references to Homer. I found that the majority of them required way too much work to enjoy or even understand. To borrow a page from Barth's own literal book, many of them lack a ground-situation and are all about the vehicle instead. In other words, they're more interested in structure or deconstruction than in telling an actual story. They're like recipes that, in the end, don't produce an edible result or even a cohesive product.

The one piece that really stood out to me was the titular "Lost in the Funhouse," which is a story about writing a story. It breaks the fourth wall by offering writing advice to the reader and has sentences that end abruptly, as if the writer got distracted or frustrated and forgot to come back and finish them. It's fragmented, repetitious, errorful, and is constantly elaborating, revising, and clarifying, as if trying to hit upon the precise collection of words that will perfectly describe an idea that exists only in the author's mind. As a writer myself, this is a process that's very familiar to me. And Barth does manage to tell a sort of story in the process, though its subtle start becomes increasingly feverish by the end. It's an interesting concept, and one that I could potentially revisit. Barth himself revisits it in "Title," but, in my opinion, with less effect as there's no real story to it. Instead, it appears to be a conversation between the writer and the story itself. A lot of the book is like that, with conversations where you can't identify the characters or a stream of consciousness narrative where you can't identify the narrator. And, to be honest, the last half of the book is probably useless unless you have a solid understanding of Homer. Since my Homer knowledge is mediocre at best - mainly because I just don't care about Homer - this was a real challenge to finish.

I understand what Barth was attempting to achieve, but there is very little, if any, enjoyment in reading these stories. They seem overly self-indulgent. It doesn't measure up to what I have read by Barth thus far.

The only stories that are actually worth reading are "petition", "lost in the funhouse" and "title".

Perhaps Barth was exploring some deep and complex themes, but in doing so, he sacrificed the readability and entertainment value of the stories.

It's a shame because I had high expectations based on his reputation. However, these particular works failed to live up to those expectations.

Maybe I need to approach them from a different perspective or give them a second chance, but for now, I'm left feeling disappointed.

A lot of "Lost in the Funhouse" is more clever than actually entertaining. If I were to describe one of the stories and the postmodern tricks found within it, it might sound very interesting. However, actually reading it is a different matter. That being said, there is a lot of good material in this book. My favorite was "Anonymiad," the story of a minstrel who is left by Agamemnon to watch over Clytemnestra, on the lookout for infidelities. The minstrel is banished to a small island, where he invents the novel (non-rhymed songs, broken into chapters). Also, "Menelaiad" is a good (albeit overly long) read. It involves Menelaus trying to convince some visitors (and himself) that Helen was actually faithful to him during the 8 years of the Trojan War.

The book is not all about retelling Greek myths, mind you. Some of it is far less interesting.

Quote:

“Discarding what he’d already written as he could wish to discard the mumbling pages of his life he began his story afresh, resolved this time to eschew overt and self-conscious discussion of his narrative process and to recount instead in the straight-forwardest manner possible the several complications of his character’s conviction that he was a character in a work of fiction, arranging them into dramatically ascending stages if he could for his readers’ sake and leading them (the stages) to an exciting climax and denouement if he could.” (121)

This is my first time reading John Barth. Although I like his confident and assertive tone as he walks on the square, it was very difficult for me to read this book. If you think I'm so pitiful that I would greedily swallow all his sentences without hesitation, you're wrong, John. Because my lack of enthusiasm for reading the last story eventually led me to a point where I seemed to finish this book without really finishing it. Nevertheless, I'm very glad to have met you. I added your name to the club of reluctant swimmers who are still swimmers. Call me. XOX

I found myself constantly struggling with the complex and convoluted narrative of Barth's work. His writing style, while unique and engaging in some ways, also posed significant challenges. The stories seemed to unfold in a rather disjointed manner, making it hard for me to fully grasp the overall meaning and purpose.

Despite these difficulties, I have to admit that there were certain moments in the book that really stood out. Barth's use of language and his ability to create vivid and imaginative worlds were truly remarkable. I could sense his passion and creativity on every page, even if I didn't always understand what he was trying to convey.

Overall, my experience with John Barth's book was a mixed one. While it wasn't an easy read, it did force me to think and reflect in ways that I hadn't before. I'm not sure if I would recommend it to others, but I'm glad that I took the time to give it a try. Maybe with more readings and a deeper understanding of his work, I'll be able to appreciate it even more.

I thoroughly enjoyed the experience of delving into this sequence of stories. However, at certain moments, I did find myself feeling rather lost within Barth's complex funhouse. I was aware that some of the tedium was deliberately crafted, yet I persevered and carried "on with the story." In the end, I'm glad I made it through.

While some of the metafictional elements were clearly visible, others remained somewhat elusive to me until I perused the journal article titled "The Novelist as Topologist: John Barth's Lost in the Funhouse." This article truly enhanced my appreciation for the remarkable structural feat that Barth accomplished in this collection. It also shed light on the significance of Barth's suggestion that this sequence should be "received 'all at once.'" After the arduous journey through "Menelaiad" and finally reaching the end of "Anonymiad," obtaining some clarity regarding the collection's arrangement was an incredibly rewarding experience.

Barth's essays, "The Literature of Exhaustion" and "The Literature of Replenishment" (both of which are printed in "The Friday Book"), also provided excellent background information and served as a great tribute to Borges. I believe I would have derived even more benefit from reading these essays before approaching "Lost in the Funhouse."

My favorite stories within this collection are "Anonymiad" and "Night-sea Journey." And my favorite quote is: "'"'Love!'"' - from "Menelaiad."

Сказитися! Ох і дав Барт жару. At first, everything is so adult and serious. A journey through the night sea. The making of a writer. Struggling in the open waters that pull towards the bottom. And what is better, asks Bart, to sink immediately or to drown while struggling right at the shore that perhaps doesn't even exist.

"And I then 'reach the shore': but what if the shore only exists in the imagination of the swimmers and it is invented to explain the very可怕 fact that we are swimming somewhere, always have been doing this and will continue to swim non-stop (I am an exception here) until we die?... One word, the blessed fate of a drowning man."

Then our hero is born, and we read the story in the soul of Gerald Durrell. With effort, I gather all the remnants of my intellect to catch the thread of the truly Lost in the room of laughter. All right, the world is a labyrinth, and someone (the operator) controls all of it.

The echo reminds of Lacanian teachings about Narcissus, the very Echo, Oedipus, and all of them taken together. And then I read the afterword and understand that it's not that. After everything is in the fog: the title and The Story of Life, but we remember this is postmodernism) and we come to terms with that fog.

And here, fanfare: "Reader! You, the stubborn, cynical degenerate, oriented towards the printed word, it is precisely to you that I am addressing, to whom else, from the very depths of this monstrous prose. So you read me up to this point? Up to this? What可疑 motive prompts you? How is it that you don't go to the cinema, don't watch television, don't lean against the wall, don't play tennis with a friend, don't realize your amorous plans regarding the person who came to your mind when I talked about amorous plans? Can't you get enough, soak up thoroughly, switch off? Where is your conscience?"

And then later, the heroes of ancient Greece appear on the scene. Get ready, because you will laugh until you cry. If Bart had taught mythology, it would have been very interesting. "I will throw you bones so that you either grow meat on them or at least peck at them as you wish." I imagine how he had fun while writing this collection. But for the translator, it was not a breeze. Et, Bart!

About the Möbius Strip, the camera obscura, and other ideas of the work, because it's hard to call it just a collection of stories, you can already read in the book.

I'm confusion. This simple statement holds a world of complexity within it.

Confusion can stem from a variety of sources. It might be the result of a lack of clear information, a complex situation that is difficult to understand, or perhaps a conflict of ideas or emotions.

When we are confused, our minds can feel muddled and our thoughts may race in different directions. We might find ourselves second-guessing our decisions or struggling to make sense of what is happening around us.

However, confusion can also be a catalyst for growth and learning. It can prompt us to seek answers, ask questions, and explore new perspectives.

In the face of confusion, it is important to take a step back, breathe, and try to approach the situation with a clear and open mind. By doing so, we can begin to untangle the knots of confusion and find our way forward.

So, the next time you find yourself in a state of confusion, don't be afraid. Embrace it as an opportunity to learn and grow, and trust that with time and effort, you will be able to find clarity and understanding.