Paul auster why write about literature
Friends of my parents had box seats at the Polo Grounds, and one April night a group of us went to watch the Giants play the Milwaukee Braves.
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Paul Auster's Writing Machine is the articulation of a complex order of signification that is all but named, and that at once participates in, and is a product of, the process of writing. Auster: This book is divided into two parts. At that moment in my life, nothing was more important to me than baseball. There is the death of a young man in this book. All readers. This sense of self-reflection and being aware and anxious about artistic creation is another central theme in his work. And Doestoeivski is not a boy-writer. If I had put the story of the boy killing my dog—and that was Eric also, what a little monster he was! He was Eric. Perhaps you could describe your writing as a high wire act. Five hundred pages of letters, it was astonishing. You sense being a professor of literature would have been a terrible failure for Auster. A: Most of my books are improvisations.
I remember that in The New York Trilogy, or in Moon Palace, everything moves very fast, and in your last novels, you tend to take time, to protract time, actually. Reading, at the deepest level, is a physical experience.
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Everything looks real. You remember all the rules of the masters before you. It had an eerie, tormenting effect on me, I have to say. I remember the most memorable thing, I think, he ever said to me about writing, which I think about almost every day. It was the plague of going to a very good school [Columbia] and reading too much literature and literary criticism. Those are black and these are brown and those are green over there. On the plane she not only read the story about herself but everything in the book, including the Willie Mays story. And I find it exhilarating. But no matter how hard life became for him in other ways, words were never his problem. The study offers rich, original and rewarding readings of Auster's texts. The phone rang, but he never answered it. I think he finally wound up in Mexico where he had all kinds of political problems. An excerpt from Underworld is published under the title Pafko at the Wall. Auster: On steroids? Do they constitute a special group of works in your eyes?
Auster: Definitely. For better or worse, I might add. He gained renown for a series of experimental detective stories published collectively as The New York Trilogy You learn it through other people, and so every person is connected to other people, even when physically isolated.
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Needless to say the very last paragraph of that little story is a bit whimsical. Auster: Or maybe I installed your air conditioner. You write in a room that might not be locked, but it surely is solitary. What it is is a literary work, composed of autobiographical fragments, but trying to attain, I hope, the effect of music. We are binary beings—two arms, two legs, two eyes, two ears. Share via Email I don't know why I do what I do. They were Protestant to the core, so suffering was good. I had no idea what that question was, but the answer had already been formed in my steps, and I had only to keep walking to know that I had left myself behind, that I was no longer the person I had once been. But nor do I want to turn my back on the darkness either.
Vertigo, Coronado and his men—this was in the s—heard about the Seven Cities of Gold, the mythical domain of Eldorado, the Golden Kingdom.
He was one tough cookie.
Q: What attracts you to the paradoxical and the uncanny, which we frequently encounter in your work? Poetry is often done by younger people, but still you have to have been around for a while.
Writers and readers Auster talks about how books touch people, creating empathy by asking us to inhabit others.
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