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Author : Paul Auster Publisher : Sun and Moon Press Page : 112 pages File Size : 55,8 Mb Release : 1986 Category : City and town life ISBN : STANFORD:36105040218062
The second book in the acclaimed New York Trilogy--a detective story that becomes a haunting and eerie exploration of identity and deception. It is a story of hidden violence that culminates in an inevitable but unexpectedly shattering climax.
Paul Auster's Ghosts by María Laura Arce Álvarez Pdf
The following book explores the intertextual relationship between Paul Auster’s first and most remarkable work, The New York Trilogy (1987), and the works of certain American and European writers who shaped this novel and Auster’s future works. Auster’s The New York Trilogy is a novel formed by an intertextual dialogue which in some cases it is explicit, mentioning authors and books intentionally, and in others implicit, provoked by Auster’s admiration for authors such as Samuel Beckett or product of his role as a translator, as it occurs with Maurice Blanchot. These two different ways of intertextuality essentially show Auster’s influence of the American Renaissance, Samuel Beckett’s fiction and the work of the writer and critic Maurice Blanchot. In these terms, this book proposes an exhaustive analysis of City of Glass and Herman Melville’s “Bartleby, the Scrivener,” Ghosts and Edgar Allan Poe’s “William Wilson” and The Locked Room and Nathaniel Hawthorne’s Fanshawe. The two last chapters also offer a thorough analysis of the whole trilogy in comparison to Samuel Beckett’s trilogy Molloy, Malone Dies and The Unnamable and finally introduces a study of the trilogy as a fictionalization of Maurice Blanchot’s literary theory.
The Book of Illusions, written with breath-taking urgency and precision, plunges the reader into a universe in which the comic and the tragic, the real and the imagined, and the violent and the tender dissolve into one another. One man's obsession with the mysterious life of a silent film star takes him on a journey into a shadow-world of lies, illusions, and unexpected love. After losing his wife and young sons in a plane crash, Vermont professor David Zimmer spends his waking hours mired in grief. Then, watching television one night, he stumbles upon a lost film by silent comedian Hector Mann, and remembers how to laugh . . . Mann was a comic genius, in trademark white suit and fluttering black moustache. But one morning in 1929 he walked out of his house and was never heard from again. Zimmer's obsession with Mann drives him to publish a study of his work; whereupon he receives a letter postmarked New Mexico, supposedly written by Mann's wife, and inviting him to visit the great Mann himself. Can Hector Mann be alive? Zimmer cannot decide - until a strange woman appears on his doorstep and makes the decision for him, changing his life forever. 'A nearly flawless work . . . Auster will be remembered as one of the great writers of our time.' San Francisco Chronicle 'Auster's elegant, finely calibrated The Book of Illusions is a haunting feat of intellectual gamesmanship.' TheNew York Times
Meet Mr. Bones, the canine hero of Paul Auster's remarkable new novel, Timbuktu. Mr. Bones is the sidekick and confidant of Willy G. Christmas, the brilliant, troubled, and altogether original poet-saint from Brooklyn. Like Don Quixote and Sancho Panza before them, they sally forth on a last great adventure, heading for Baltimore, Maryland in search of Willy's high school teacher, Bea Swanson. Years have passed since Willy last saw his beloved mentor, who knew him in his previous incarnation as William Gurevitch, the son of Polish war refugees. But is Mrs. Swanson still alive? And if she isn't, what will prevent Willy from vanishing into that other world known as Timbuktu? Mr. Bones is our witness. Although he walks on four legs and cannot speak, he can think, and out of his thoughts Auster has spun one of the richest, most compelling tales in recent American fiction. By turns comic, poignant, and tragic, Timbuktu is above all a love story. Written with a scintillating verbal energy, it takes us into the heart of a singularly pure and passionate character, an unforgettable dog who has much to teach us about our own humanity.
A Life in Words by Paul Auster,I. B. Siegumfeldt Pdf
An inside look into Paul Auster's art and craft, the inspirations and obsessions, mesmerizing and dramatic in turn. A remarkably candid, and often surprisingly dramatic, investigation into one writer's art, craft, and life, A Life in Words is rooted in three years of dialogue between Auster and Professor I. B. Siegumfeldt, starting in 2011, while Siegumfeldt was in the process of launching the Center for Paul Auster Studies at the University of Copenhagen. It includes a number of surprising disclosures, both concerning Auster's work and about the art of writing generally. It is a book that's full of surprises, unscripted yet amounting to a sharply focused portrait of the inner workings of one of America's most productive and successful writers, through all twenty-one of Auster's narrative works and the themes and obsessions that drive them.
When reclusive crime writer Daniel Quinn receives a mysterious call seeking a private detective in the middle of the night, he quickly and unwittingly becomes the protagonist in a thriller of his own. As the familiar territory of the noir detective genre gives way to something altogether more disturbing, Quinn becomes consumed by his mission, and begins to lose his grip on reality.
Ghost Writing in Contemporary American Fiction by David Coughlan Pdf
This book examines representations of the specter in American twentieth and twenty-first-century fiction. David Coughlan’s innovative structure has chapters on Paul Auster, Don DeLillo, Toni Morrison, Marilynne Robinson, and Philip Roth alternating with shorter sections detailing the significance of the ghost in the philosophy of Jacques Derrida, particularly within the context of his 1993 text, Specters of Marx. Together, these accounts of phantoms, shadows, haunts, spirit, the death sentence, and hospitality provide a compelling theoretical context in which to read contemporary US literature. Ghost Writing in Contemporary American Fiction argues at every stage that there is no self, no relation to the other, no love, no home, no mourning, no future, no trace of life without the return of the specter—that is, without ghost writing.
A “compelling” (Los Angeles Times) tale of friendship, betrayal, estrangement, and the unpredictable intrusions of violence in the everyday – from the author of the forthcoming 4 3 2 1: A Novel "Six days ago, a man blew himself up by the side of a road in northern Wisconsin. . . ." So begins the story by Peter Aaron about his best friend, Benjamin Sachs. Sachs had a marriage Aaron envied, an intelligence he admired, a world he shared. And then suddenly, after a near-fatal fall that might or might not have been intentional, Sachs disappeared. Now Aaron must piece together the life that led to Sach's death. His sole aim is to tell the truth and preserve it, before those who are investigating the case invent an account of their own.
A timeless, utterly charming Christmas fable, beautifully illustrated and destined to become a classic When Paul Auster was asked by The New York Times to write a Christmas story for the Op-Ed page, the result, "Auggie Wren's Christmas Story," led to Auster's collaboration on a film adaptation, Smoke. Now the story has found yet another life in this enchanting illustrated edition with Argentine artist Isol. It begins with a writer's dilemma: he's been asked by The New York Times to write a story that will appear in the paper on Christmas morning. The writer agrees, but he has a problem: How to write an unsentimental Christmas story? He unburdens himself to his friend at his local cigar shop, a colorful character named Auggie Wren. "A Christmas story? Is that all?" Auggie counters. "If you buy me lunch, my friend, I'll tell you the best Christmas story you ever heard. And I guarantee every word of it is true." And an unconventional story it is, involving a lost wallet, a blind woman, and a Christmas dinner. Everything gets turned upside down. What's stealing? What's giving? What's a lie? What's the truth? It's vintage Auster, and pure pleasure: a truly unsentimental but completely affecting tale.
'One of the most original and audacious autobiographies ever written by a writer.' Le Monde Hand to Mouth tells the story of the young Paul Auster's struggle to stay afloat. By turns poignant and comic, Auster's memoir is essentially a book about money - and what it means not to have it. From one odd job to the next, from one failed scheme to another, Auster investigates his own stubborn compulsion to make art and, in the process, treats us to a series of remarkable adventures and unforgettable encounters. Hand to Mouth is essential reading for anyone interested in Paul Auster, in the figure of the struggling artist, in the nature of poverty, or in baseball.
'That is how it works in the City. Every time you think you know the answer to a question, you discover that the question makes no sense . . .' This is the story of Anna Blume and her journey to find her lost brother, William, in the unnamed City. Like the City itself, however, it is a journey that is doomed, and so all that is left is Anna's unwritten account of what happened. Paul Auster takes us to an unspecified and devastated world in which the self disappears amidst the horrors that surround us. But this is not just an imaginary, futuristic world: like the settings of Kafka stories, it is one that echoes our own, and in doing so addresses some of our darker legacies. In the Country of Last Things is a tense, psychological take on the dystopian novel. It continues Auster's deep exploration of his central themes: the modern city, the mysteries of storytelling, and the elusive and unstable nature of truth.
SHORTLISTED FOR THE 2017 MAN BOOKER PRIZE A Globe and Mail Best Book A New York Times Notable Book of the Year From the internationally celebrated author of The New York Trilogy comes a sweeping story of birthright and possibility, of love and the fullness of life itself, in which we follow the four parallel lives, loves, and obsessions of one remarkable boy during a time of great change in America. On March 3, 1947, in the maternity ward of Beth Israel Hospital in Newark, New Jersey, Archibald Isaac Ferguson, the one and only child of Rose and Stanley Ferguson, is born. From that single beginning, Ferguson's life will take four simultaneous and independent fictional paths. Four Fergusons made of the same genetic material, four boys who are the same boy, will go on to lead four parallel and entirely different lives. Family fortunes diverge. Loves and friendships and intellectual passions contrast. Chapter by chapter, the rotating narratives evolve into an elaborate dance of inner worlds enfolded within the outer forces of history as, one by one, the intimate plot of each Ferguson's story rushes on across the tumultuous and fractured terrain of mid-twentieth-century America. A boy grows up -- again and again and again. As inventive and dexterously constructed as anything Paul Auster has ever written, 4 3 2 1 is an unforgettable tour de force, the crowning work of this masterful writer's extraordinary career.
A man pieces together clues to his past—and the identity of his captors—in this fantastic, labyrinthine novel An old man awakens, disoriented, in an unfamiliar chamber. With no memory of who he is or how he has arrived there, he pores over the relics on the desk, examining the circumstances of his confinement and searching his own hazy mind for clues. Determining that he is locked in, the man—identified only as Mr. Blank—begins reading a manuscript he finds on the desk, the story of another prisoner, set in an alternate world the man doesn't recognize. Nevertheless, the pages seem to have been left for him, along with a haunting set of photographs. As the day passes, various characters call on the man in his cell—vaguely familiar people, some who seem to resent him for crimes he can't remember—and each brings frustrating hints of his identity and his past. All the while an overhead camera clicks and clicks, recording his movements, and a microphone records every sound in the room. Someone is watching. Both chilling and poignant, Travels in the Scriptorium is vintage Auster: mysterious texts, fluid identities, a hidden past, and, somewhere, an obscure tormentor. And yet, as we discover during one day in the life of Mr. Blank, his world is not so different from our own.
