Aunque se leían desde hacía años, Paul Auster y J.M. Coetzee no se conocieron personalmente hasta febrero de 2008, cuando Auster y su mujer, la novelista y ensayista Siri Hustvedt, asistieron al festival literario de Adelaide, en Australia. Poco después de su vuelta a Nueva York, Auster recibió una carta de Coetzee en la que le proponía una colaboración epistolar. En su carta de respuesta a Coetzee, Auster sugirió que comenzaran con un diálogo abierto sobre cualquier tema que pudiera interesarles a los dos, «el ...
Aunque se leían desde hacía años, Paul Auster y J.M. Coetzee no se conocieron personalmente hasta febrero de 2008, cuando Auster y su mujer, la novelista y ensayista Siri Hustvedt, asistieron al festival literario de Adelaide, en Australia. Poco después de su vuelta a Nueva York, Auster recibió una carta de Coetzee en la que le proponía una colaboración epistolar. En su carta de respuesta a Coetzee, Auster sugirió que comenzaran con un diálogo abierto sobre cualquier tema que pudiera interesarles a los dos, «el tipo de conversaciones que tendríamos si coincidiera que viviéramos en la misma ciudad. Pero no una conversación de sobremesa, sino algo más riguroso». Coetzee aceptó y así dio comienzo el intercambio de cartas que aparecen en este libro. El plan original era continuar con la correspondencia durante dos años, pero cuando se acercaba el plazo decidieron alargarlo uno más. Con buen ojo, esta correspondencia comienza con una discusión sobre la amistad.
Paul Auster's unique novels are often like Chinese boxes, continually opening further to reveal new layers. He approaches his writing as he has approached his life, to an extent: as something of a nomad in a perpetually changing, mysterious landscape.
Much later, when he was able to think about the things that happened to him, he would conclude that nothing was real except chance. But that was much later. In the beginning, there was simply the event and its consequences.
This sentence from the opening of Paul Auster's first novel, City of Glass, could also serve as a template for the author's career, both in circumstance and theme. City of Glass is perhaps the best known of Auster's postmodern detective New York Trilogy, which is rounded out by Ghosts and The Locked Room. Though the novels nominally involve cases to be solved, at base they are about the mystery of identity and how easily it can be lost or altered. In City of Glass, a mystery writer mistakenly receives a phone call for detective Paul Auster and assumes his identity, becoming embroiled in a case. The trilogy was a welcome breath of fresh air for both detective stories and postmodernist writing, and it put Auster on the publishing map.
Setting out to write his subsequent novel, Auster kept in mind the subtitle "Anna Blume Walks Through the 20th Century." The result was a woman's post-apocalyptic urban journey, In the Country of Last Things. Subsequent works such as Moon Palace, The Music of Chance, Leviathan, and Mr. Vertigo offered heroes caught up in strange worlds, playing out their stories over existential subtexts. The Music of Chance carries references from Beckett's Waiting for Godot in its story about a drifter who ends up teaming with a card player named Jack Pozzi to hustle two wealthy eccentrics in a fateful poker game. In Mr. Vertigo, a boy who has the ability to levitate goes on the road in the 1920s as "the Wonder Boy," moving through a panorama of pre-Depression America.
Auster's ability to blur the line between fantasy and reality has resulted in unique stories that never operate solely as good yarns. The New York Times wrote of Leviathan -- a dead man's coincidence-ridden story, as narrated by his friend -- "Thus in the literary looking glass of Leviathan, in which things are not always what they seem, our pleasure in reading the story is enhanced by the challenge of making other connections." Auster's fondness for allegory has earned him both praise for his cleverness and criticism from reviewers who, even as they praise his talent, occasionally find him heavy-handed.
The director Philip Haas adapted The Music of Chance for the 1993 film starring James Spader and Mandy Patinkin. But it was Wayne Wang who drew Auster to the movie business in earnest, convincing him to write the screenplay for 1995's Smoke, which was adapted from the short story "Auggie Wren's Christmas Story." The film did well enough to get producer Miramax on board for a sequel bringing back star Harvey Keitel, Blue in the Face. This time, Auster not only wrote the script but co-directed with Wang; he later went full-fledged auteur with the 1998 film (also starring Keitel) Lulu on the Bridge.
In 1999, Auster made the unconventional choice of writing from a canine's point of view in Timbuktu -- although as Auster noted in the Guardian, Mr. Bones "is and isn't a dog." In telling the story of himself and his owner, a homeless "outlaw poet" named Willy G. Christmas, Mr. Bones offers a meditation on mortality, human relationships, and dreams. "If anything," Auster said in a chat with Barnes & Noble.com readers, "I thought of Willy and Mr. Bones as a rather screwball, nutty, latter-day version of Don Quixote and Sancho Panza, the befuddled knight-errant and his loyal squire." The New York Times called Timbuktu his "most touching, most emotionally accessible book."
Auster earned some of his best reviews with his tenth novel The Book of Illusions, about a widower who develops an obsession with an obscure silent-film star and is surprised with an invitation to meet the presumed-dead actor. Book magazine called it "certainly his best...the book [has] the drive and dazzle reminiscent of the classic hardboiled yarns of Raymond Chandler and Dashiell Hammett."
Auster is an author who, in both his fiction and his nonfiction, rekindles hope for the romantic, the coincidental, and the magical in everyday life. He does this not with fantastic story lines but by heightening the significance of twists and coincidences that happen to us all the time -- if we approach things in a certain light, our lives become like movies. Auster spins the projector.
Good To Know
Auster's wife Siri Hustvedt, whom he met in 1981, is also a novelist and essayist; writing about her novel The Blindfold, the Village Voice Literary Supplement called Hustvedt "a writer of strong, sometimes astonishing gifts." Auster's first wife was writer Lydia Davis.
Desperately poor in the late '70s and working unhappily as a French translator to make ends meet, Auster wrote a detective novel called Squeeze Play to make some money. He also invented a card game called Action Baseball that he tried to sell to game manufacturers. However, Squeeze Play is "not a legitimate book," he told the Guardian; it was published under a pseudonym. Later, an inheritance from his father allowed Auster the financial freedom to focus more on his writing.
Auster has enjoyed a remarkably international following, even in the days before his Hollywood projects raised his profile; his novels have been translated into several languages, and web sites from Germany to Japan pay him homage.