Tilted Room
Tilted Room
Dreams are the tilted room
In the funhouse of sleep.
Outside (you hope)
The world is still level
But when you exit this way
You feel yourself
Falling over.
©
Note: Writing this poem, I realized that some readers have never experienced a funhouse, or even know what it is. It was an essential part of carnivals and amusement parks, before amusement parks became theme parks (and, presumably, amusement became themes). It is an awesome way for children to learn that things are not what they seem, but that that could be simultaneously fun and scary.
And in the spirit of tail wagging dog, or note wagging poem, note that funhouse also served as a titular inspiration for an important but now pretty neglected work of fiction. John Barth’s collection of short pieces Lost in the Funhouse (1968) is considered “a major landmark of experimental fiction.” Barth is better known for novels (often long novels) such as Giles Goat Boy (“a fantasy of theology, sociology, and sex”), but Lost in the Funhouse is an easy introduction to the early days of what is now called postmodern fiction. (A seriously misleading and meaningless conceit, since Joyce and others had been writing weird and wonderful formally transgressive things for decades, writing that delights and defies total comprehension.)
Anyway, Barth writes that the first piece in Funhouse, Frame-Tale “happens to be, I believe, the shortest short story in the English language (ten words); on the other hand, it’s endless.” Endless because it is a Moebius strip:
The rest of the collection, and his novels, are not so brief, filled with many more words of charged and challenging writing:
“One way or another, no matter which theory of our journey is correct, it’s myself I address; to whom I rehearse as to a stranger our history and condition, and will disclose my secret hope though I sink for it.
“Is the journey my invention? Do the night, the sea, exist at all, I ask myself, apart from my experience of them? Do I myself exist, or is this a dream? Sometimes I wonder. And if I am, who am I? The Heritage I supposedly transport? But how can I be both vessel and contents? Such are the questions that beset my intervals of rest.
“My trouble is, I lack conviction. Many accounts of our situation seem plausible to me—where and what we are, why we swim and whither. But implausible ones as well, perhaps especially those, I must admit as possibly correct. Even likely. If at times, in certain humors—stroking in unison, say, with my neighbors and chanting with them ‘Onward! Upward!’—I have supposed that we have after all a common Maker, Whose nature and motives we may not know, but Who engendered us in some mysterious wise and launched us forth toward some end known but to Him—if (for a moodslength only) I have been able to entertain such notions, very popular in certain quarters, it is because our night-sea journey partakes of their absurdity. One might even say: I can believe them because they are absurd.
From Night-Sea Journey
Bob Schwartz 