Lost in the Funhouse

John Barth

$16.00

Publication Date: March 1st, 1988

Publisher:

Anchor

ISBN:

9780385240871

Pages:

224

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Description

NATIONAL BOOK AWARD FINALIST • John Barth's lively, highly original collection of short pieces is a major landmark of experimental fiction exploring themes of purpose and the meaning of existence.

"[Barth] ran riot over literary rules and conventions, even as he displayed, with meticulous discipline, mastery of and respect for them." —The New York Times

From its opening story, "Frame-Tale"--printed sideways and designed to be cut out by the reader and twisted into a never-ending Mobius strip--to the much-anthologized "Life-Story," whose details are left to the reader to "fill in the blank," Barth's acclaimed collection challenges our ideas of what fiction can do. Highlights include the Homerian story-wthin-a-story-within-a-story (times seven) of "Menalaiad,' and "Night-Sea Journey," a first-person account of a confused human sperm on its way to fertilize an egg. All of the characters in Lost in the Funhouse are searching, in one way or another, for their purpose and the meaning of their existence. Together, their stories form a kaleidescope of exuberant metafictional inventiveness.

About the Author

John Barth (1930-2024) was an American writer celebrated for his postmodern and metafictional fiction. Barth’s first novel, The Floating Opera, was published in 1956, followed by The End of the Road. Barth achieved critical and commercial success in the 1960s with The Sot-Weed Factor and Giles Goat-Boy. His collection of interconnected stories, Lost in the Funhouse, was a finalist for the National Book Award in 1969. His other works include Chimera, a collection of three novellas that won the National Book Award in 1973; Letters, an epistolary novel; Sabbatical: A Romance; and The Friday Book, a collection of essays.

Praise for Lost in the Funhouse

“[Barth’s] style [is] one of the most plastic and delightful in American writing. . . . Almost helplessly he writes a story even when he is squirming like Houdini to transmute form into as strange a permutation as he can. His real interest is in the reader and in the metaphysical plight of imagination engaging with imagination.” —The New York Times

"Barth] crafted labyrinthine, fantastical tales that were at once bawdy and philosophical, placing him on the cutting edge of the postmodern literary movement." —The Washington Post

“[A] playfully erudite author whose darkly comic and complicated novels revolved around the art of literature and launched countless debates over the art of fiction.” —The Guardian