Lost in the Postmodern Era Henry Shepard University of Southern Mississippi

The Catalyst

Volume 2 | Issue 1 Article 3

2012 Lost in the Postmodern Era Henry Shepard University of Southern Mississippi

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Recommended Citation Shepard, Henry (2012) "Lost in the Postmodern Era," The Catalyst: Vol. 2: Iss. 1, Article 3. DOI: 10.18785/cat.0201.03 Available at: http://aquila.usm.edu/southernmisscatalyst/vol2/iss1/3

This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in The aC talyst by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. n John Barth's "Lost in the Fun Lost in the Postmodern Era Barth also discusses the I house," a char- need to rediscover conven acter named Ambrose Henry Shepard tional devices used in litera winds up lost in the ture: "After which, I add on confines of a funhouse, an attraction that is supposed to offer en behalf of the rest of us, it might joyment by mixing the uncertain with adventure. 1 However, this be conceivable to rediscover story is not told through conventional means, as the narrator of this validly the artifices of language tale is lost himself. The narrator, while focused on telling the tale and literature - such far-out of Ambrose, is also distracted by the various literary devices and notions as grammar, punctua techniques of putting a fictional work together. The narrator's ob tion ... even characterization! servation of how the piece is being put together as the work un Even plot!" ("Literature of Ex folds, or of any type of device that makes the reader aware that he haustion" 3). Here Barth spells or she is indeed reading a form of fiction, is known as metafiction. out exactly what his narrator John Barth's use of metafiction in "Lost in the Fun house" stops the is doing in "Lost in the Fun reader from fulfilling his or her role by reflecting on how the story house." Through the narrator's is pieced together stylistically. That is, metafiction stops the reader explanation to the reader con from discovering the secrets of the work for themselves, as the in cerning exactly how the story is ner workings are spilled out in plain text. By doing this, Barth also pieced together, Barth is redis splits the narrator into two "selves." There is a story-centered voice, covering or exploring the liter the self that wishes to convey the story (the self that still believes ary devices he uses every day there is a story to tell), and there is a metafictional voice which ex in order to question the old as plains exactly how the story is put together and by doing so dispels sumptions of the craft. Mainly, the notion that there is an original way in which to tell a story. These he focuses on characterization, two voices are working against each other throughout "Lost in the plot, and form in "Lost in the Funhouse." However, Barth also mixes these sentiments together Funhouse." Specifically, "Lost when Ambrose is lost in the funhouse, thereby reflecting the read in the Funhouse" is an example er's frustration of trying to represent experience in the postrnodem of one of his "novels that imi era. tate the form of a Novel, by an The narrator in "Lost in the Funhouse" is very similar to a voice author who imitates the role of found in John Barth's essay "The Literature of Exhaustion," spe an Author" ("Literature of Ex cifically during times where the narrator is revealing exactly what haustion" 6). Again he achieves he is doing in order to tell the story. During these times, a bit of this through his use of metafic Barth's personal thoughts are being mixed with the story in order to tion. By examining how he has create a metafictional work expressing Barth's ideas. He wrote this put together the story, Barth essay to explore the notion of "the used-upedness of certain forms is exploring the main role of or exhaustion of certain possibilities" in literature. 2Specifically, he an author. Authors try, at all explores the idea that the possibilities for novel writing have been costs, to hide their hand within exhausted, and that for literature to continue existing, it must move the story; they do not want the into a new era ofintermedia art. He lists some examples ofinterme reader to think about reading a dia art, including Robert Filliou's Ample Food for Stupid Thought, story while reading their story. a work comprised entirely of questions written on postcards, and However, the use of metafiction Jorge Luis Borges' work "TlOn, Uqbar, Orbis Tertius," which in makes it almost impossible for cludes footnotes for works that exist in the imaginary world ofTlOn. the reader to maintain this de sire, as the inner workings of 9 the story are explicitly spelled where we first meet Ambrose, ments that examine how the out to them while they are read read, "A single straight under work is put together). ing it. The effect here is to stop line is the manuscript mark for A good example of the voices the reader from fulfilling his or italic type, which in turn is the continually mixing together is her normal role. Barth does so printed equivalent to oral em through the characterization of by not fulfilling his own role phasis of words and phrases [. the relationship between Am as an author, but merely imitat ..] They should be used spar brose and Magda. Barth knows ing it. He covers the responsi ingly" (72). The metafictional that characterization can be bilities of an author in "Lost in voice reads like a textbook and strongly achieved through ac the Funhouse," but he also ex is seemingly (but not entirely) tion. For example: plains how his tricks work, thus unrelated to the story, as Am betraying his actual role. It's brose has nothing to do with comparable to a magician who how italics are used in literature. Ambrose pushed his glasses reveals the secret to his trick as However, this metafictional back onto the bridge of his nose he is doing it. side of the narrator, evident by with hi s left hand, which he Unlike the magician, howev the complete change of subject then negligently let fall to the er, Barth has a reason for show matter, tone, and voice, is not seat cushion immediately be ing his hand in "Lost in the Fun telling Ambrose's story but the hind her. He even permitted the house." In order to discover this story of how Ambrose's story is single hair, gold on the second reason, one must look closely put together. Both sides of the joint of his thumb to brush the at what Barth is doing with the narrator are working together to fabric of her skirt. Should she narrator throughout the piece. tell the story ofAmbrose and the have sat back at that instant, his The first few lines of "Lost in funhouse, but each side is fo hand would have been caught the Funhouse" read, "For whom cused on a different aspect of the under her. (77) is the funhouse fun? Perhaps for story. The narrator's split selves start off on completely differ lovers. For Ambrose it is a place This passage ts written m ent sides with distinct voices, of f ear and confusion. He has only one voice, the story-cen but they continually mix with come to the seashore with his tered votce, and it suggests each other in an attempt both to family for the holiday. . ." (72). Barth cares about the Ambrose tell the story and to explore the These sentences are all consis story despite his interruptions possibilities that exist in writing tent with each other; they each with notes on style. The detail it. In a way the two narrating sound as though they have the in which he describes the situ voices reflect the sentiments in same speaker. The voice here ation brings the nervous energy "The Literature of Exhaustion," is the first side of the narrator of a first love alive through hes where Barth explains he is both who wants to continue with the itation. The tension created by worried about representing ex story of Ambrose and his trip the lingering questions, will she perience in a refreshing way to Ocean City. This self is the sit back, what will happen if she (represented by the constant story-centered voice. However, does, brings these characters to effort to continue the story of in this opening passage, we also life in a way that suggests that Ambrose), as well as worried meet the metafictional side of Barth wants to tell the story. It about how the story is being narrator, the one that reflects would have been easy to riddle pieced together in regards to the Barth's ideas in "The Literature a cliched story of love with exploration of old assumptions of Exhaustion." The metafic metafictional aspects to express of his craft (represented by the tional voice's first lines, in the Barth's feelings of "The Litera- middle of the same paragraph metafic- tiona! ele- 10 ture of Exhaustion," but by go metafictional side of the nar with writing in a postmodern ing to such lengths to present a rator notes that the story's title era, of which this story is a re fully original story, Barth shows is "Lost in the Funhouse" and sult. There are some clear mo he still cares about literature in suggests it should be more fo ments in "Lost in the Funhouse" general. And in fact, he does. cused around the details of the that point to Barth's frustration This entire experiment with the funhouse. However we have not with the entire process of writ Literature of Exhaustion is not even reached Ocean City yet, mg. Most of these moments to suggest that there is nothing the place where the funhouse is are spoken by the metafictional left to say; quite the opposite, located. voice. For example, "At this it's just the way we are say This section ends with, "we rate our hero, at this rate our ing leaves no possibilities for will never get out of the fun protagonist will remain in the originality. Thus, right after the house." A fundamental shift has funhouse forever" (78); "How above paragraph, Barth contin occurred here. Before, the two long is this going to take?" (81 ); ues by saying: voices of the narrator have been and "There's no point in going separate. The story-centered farther; this isn't getting any body anywhere; they haven't The function of the beginning voice narrates the details of even come to the funhouse yet" of a story is to introduce the Ambrose's story; the metafic (83). There are a lot of referenc principal characters, establish tional voice narrates details of es to not being in the funhouse their initial relationships, set how stories in general are put yet and regarding the amount the scene for the main action, together in a textbook manner of time that we shall be stuck expose the background of the covering different details such in the funhouse. Yet Ambrose situation if necessary, plant mo as when to use italics and how has been in the funhouse before tifs and foreshadowings where the beginning of a story should some of these statements. The appropriate, and initiate the first act as multiple devices in one. story often jumps into the future complication or whatever of the However here in this one sen to a point of time when Am ' rising action'. (77) tence, the metafictional voice starts to become familiar with brose is in the funhouse, mak the inner workings of the story ing us wonder when exactly he Here we have a passage of Ambrose. The two voices entered it in the first place. In composed completely of the begin to mix here, culminat any event, the reader has been metafictional voice, but it is ex ing in the reference to the fun in the funhouse from the onset plaining exactly how a begin house, one that suggests "we" of the story, which as the title ning of a story should be. The (meaning everyone involved in suggests is itself the funhouse. fact remains that "Lost in the this story: the reader, Ambrose, To further explain this idea, Funhouse" does not follow this the story-centered voice, the we must look at what a fun pattern. We have the main char metafictional voice, and even house is. First, it is a place acters and their relationship, but Barth himself) will never es where certainty and uncertainty there has been no inkling of plot cape it. meet, much like the certainty of or foreshadowing. The metafic The funhouse is itself an all the metafictional voice meet tional voice of the narrator con important symbol within Barth's ing the uncertain voice of the tinues to critique the story-cen story. It is a physical representa story-centered side of the narra tered voice's style by saying the tion of the story itself; more spe tor. Also, funhouses often have details offered up to this point cifically, it is a representation of mazes of mirrors that distort of the story "don't seem espe Barth's frustration images of the self, much like cially relevant" (77). In fact, the Barth's self is being distorted in 11 the two voices of the same nar voice is frustrated by the fact tion that the necessity for an rator within "Lost in the Fun that the story-centered voice is observer makes perfect obser house." To add to this, the fact in his way. The paradox is that vation impossible ..." (94). Am that funhouses have mirrors is one cannot have the reflection brose gets lost in reflections; the a curious notion when one real of what makes fiction with voices are lost in frustrations of izes that "Lost in the Funhouse" out there first being a fictional writing this reflection of fiction. is composed of metafiction, or piece to refl ect. This description In a way, Ambrose being lost in the reflection of the components of mirrors in the story parallels the funhouse is representative used to create fiction. The story the two voices of the narrator's of the two voices of the narrator. "Lost in the Funhouse" is com situation throughout. When Ambrose gives up on try posed of spots of reflection just Of course it's not all dismal ing to get out of the funhouse, he as a funhouse is composed of frustration that awaits one in a begins to narrate stories inspired mirrors. As Barth writes, "In the funhouse. Barth has Ambrose by his lost condition that shall funhouse mirror-room you can't put it best one day inspire the unnumbered see yourself go on forever, be when he is (96). Ambrose cause no matter how you stand, hypotheti "He wishes he had then becomes your head gets in the way. Even cally ask never entered the a narrator (to if you had a glass periscope, the ing Magda the unnum- image of your eye would cover to go into fun house." bered masses up the thing you really wanted the fun- of other lost to see" (86). In other words, house with people), but thanks to the nature of mirrors him: "The it takes these and reflection, a mirror can important thing to remember, extraordinary ordeals of being not show anything that is not after al l, is that it's meant to desperately lost in an uncer already there. Even if one uses be a funhouse; that is a place tain place to get these stories multiple mirrors, as the quota of amusement. If people really out, just as the original narrator tion is suggesting, one still can got lost or injured or too badly must go through the frustrations not see something new because frightened in it, the owner'd go of trying to find a way to reflect one's body is standing in front out of business" (90). Here the on fiction in order to find new of the mirror. One can never see story-centered voice is remind possibilities for relating expe the point at which the mirrors' ing the metafictional voice that rience. Ambrose's storytelling lines of observation meet be despite all of the frustration and then somehow transforms into cause one cannot see past one hardships that they as a pair have creating funhouses for other self. The metaphor here astutely to go through, it's a rewarding people. The final lines of the explains what the story has been process. If it were too frustrat story reflect a sentiment that the attempting to do via the two ing to put up with, there'd be narrator may feel himself: "He distinct voices of the narrator. no story or "the owner'd go out wishes he had never entered the Specifically, the metafictional of business." In other words, funhouse. But he has. Then he voice has been trying to see Barth would stop creating the wishes he were dead. But he's something new through reflec funhouse for the two voices to not. Therefore he wiII construct tion of what makes fiction by explore together. Of course, funhouses for others and be using metafiction, but he keeps Barth cannot stop creating the their secret operator-- though hitting the wall thanks to his in funhouse, as he is lost within he would rather be among the ability to see around himself. In it, just like Ambrose: "he lost lovers for whom funhouses are other words, the metafictional himself in the re.flec- designed" (97). Throughout all 12 the frustration and difficulties of Ambrose and the narrator are 2 "Literature of finding a new way to write lit lost, as there is no clear outcome Exhaustion."The Literature of Ex- erature, the narrator wishes he for this experiment. The narra could stop. But he cannot stop; tor can poke and prod fiction haustion, by John Barth- James E. he's entered the funhouse, he's all he wants with his metafic lost within the story. All he can tional reflections, but he fails to Somers jsomers.net/papers/barth_ do is continue Ambrose's story. find anything new in doing so. the-Iiterature-of-exhaustion.doc "Lost m the Funhouse" 1s He has become lost in the fun an experiment m rediscover house, lost in his own work. Be ing what makes fiction work cause he cannot figure out how through the use of metafictional to get out of the funhouse, he language and in exploring how cannot find a way to escape the literary devices work within Literature of Exhaustion, and he stories. By employing a nar therefore continues designing rator with two distinct voices stories for others to enjoy. He ' one devoted to the story and may well continue his experi representing a strong love for mentation through this process, writing and literature, and the as even Ambrose imagines "a other curious to find new pos funhouse vaster by far than any sibilities in the age-old conven yet constructed" (96), but the tions of preceding authors, John truth is, he is trapped in this end Barth has created a fusion of of writing novels forever. This ideals that speak for a need to fact helps to explain the con embrace a new era of literature. temporary condition of litera Barth disagrees with letting the ture. Authors today are still cre current happenings of relating ating stories for other people; experience proceed unques there has been little change in tioned, as the conventional sto what constitutes fiction. Litera ry is constantly interrupted with ture as a concept is trapped in the exploration of how the con conventions from which it can ventional is working. He ques not break free. Literature is lost tions the progress of the story, in the funhouse. the plotting and situation of the characters within the story. Endnotes All of this culminates with the funhouse as an encompassing 1 Barth, John. "Lost in symbol that holds much of what Barth is feeling as well as im the Funhouse." Lost in the portant thematic explanations. While from a literary angle, the Funhouse. New York: Anchor funhouse may represent some Books, 1988. thing more thematic, the fun house is also a representation of 72-96. the story itself. The funhouse is a frustrating place in which both 13