By Dennis Barone
The novels of Paul Auster—finely wrought, self-reflexive, jam-packed with doublings, coincidences, and mysteries—have captured the mind's eye of readers and the admiration of many critics of up to date literature. In past the crimson workstation, the 1st e-book dedicated to the works of Auster, Dennis Barone has assembled a global crew of students who current twelve essays that supply a wealthy and insightful exam of Auster's writings. The authors discover connections among Auster's poetry and fiction, the philosophical underpinnings of his writing, its relation to detective fiction, and its special embodiment of the postmodern elegant. Their essays give you the fullest research on hand of Auster's topics of solitude, likelihood, and paternity present in works reminiscent of the discovery of Solitude, urban of Glass, Ghosts, The Locked Room, within the kingdom of final issues, Moon Palace, The song of probability, and Leviathan.This quantity contains contributions from Pascal Bruckner, Marc Chenetier, Norman Finkelstein, Derek Rubin, Madeleine Sorapure, Stephen Bernstein, Tim Woods, Steven Weisenburger, Arthur Saltzman, Eric Wirth, and Motoyuki Shibata. The huge bibliography, ready through William Drenttel, will enormously profit either students and normal readers.
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Extra info for Beyond the Red Notebook: Essays on Paul Auster (Penn Studies in Contemporary American Fiction)
When Quinn purchases his red notebook he feels an urge to do so, as the author puts it, "for reasons that were never made clear to him" (City of Glass 63). ) Quinn puts his initials in the front of the notebook and considers that it is the first time in years he has done so since he writes mystery novels under the pseudonym William Wilson, a name that is the title of a short story about doubles by Edgar Allan Poe. Quinn has now accepted a real detective case under the assumed name "Paul Auster," a character in the novel whom Quinn will later meet.
My name is Paul Auster. This is not my real name'' (66). Talk about postmodern shifting subjectivities if you want (I will later), but don't forget how much fun all this is too. Auster's recent essay entitled "The Red Notebook" is about living "permanently on the brink of catastrophe" (236), about fortuitous chance and odd, barely credible coincidence. It ends with a humorous reference to Quinn and City of Glass. Auster tells the story of his first novel's genesis. Then he says that ten years after he finished it he received a phone call from a man who asked to speak to Mr.
Certainly, Auster's works are rich in mysteries which rhyme with history. "Paradox, I think," he has said, "gets very much to the heart of what novel writing is for me. It's a way for me to express my own contradictions" (Irwin 113). Questions, paradoxes, mysteries: these, and not autobiographical verities, are at the heart of Auster's writing. If Quinn's words are not Auster's own, whose are they? They are the words of "the real Mr. Sad," as Peter Stillman, Jr. calls him at one point (28). In Quinn we see the contradictions of a destabilizing and shifting postmodern subjectivity.