Invisible (en español)

Invisible (en español)

by Paul Auster

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n 1967, Adam Walker, un joven poeta ávido de vida y literatura, estudia en la Universidad de Columbia, se opone a la guerra de Vietnam y es muy apuesto. Una noche, en una fiesta de estudiantes, conoce a una pareja de franceses sofisticados, Rudolf y Margot. Tras varios días en que ambos ejercen su ambigua seducción sobre el inocente americano,


n 1967, Adam Walker, un joven poeta ávido de vida y literatura, estudia en la Universidad de Columbia, se opone a la guerra de Vietnam y es muy apuesto. Una noche, en una fiesta de estudiantes, conoce a una pareja de franceses sofisticados, Rudolf y Margot. Tras varios días en que ambos ejercen su ambigua seducción sobre el inocente americano, Rudolf, le ofrece a Adam la dirección de una revista literaria que él financiará. Adam ya sospecha que quizá el profesor sea un hombre peligroso, pero no puede resistirse a su oferta. Y tampoco se resistirá a la insinuante Margot... Pero, en estos juegos peligrosos, ¿quién es la presa y quién el cazador? «Con unos personajes fascinantes, una estructura en espiral y un final digno de Joseph Conrad y El corazón de las tinieblas, es una novela de un suspense impecable, inteligente e inquietante» (Donna Seaman, Booklist); «Posiblemente nos encontramos ante la mejor novela de Auster» (Don McLeese).

Editorial Reviews

Jeff Turrentine
"I sometimes confuse my thoughts about the world with the world itself," says one character at the end of Invisible. "I'm sorry if I offended you." Some undoubtedly will be offended; you either enjoy the dizzy feeling you get from being lost in the funhouse, or you feel queasy and head for the exit. One hopes that, in this case, readers will stay for the duration. The pleasures found inside are well worth the labor required to uncover them.
—The Washington Post
Clancy Martin
As soon as you finish Paul Auster's Invisible you want to read it again. And not because, as sometimes with his novels…you suddenly suspect, at the very end, that you haven't properly understood a word of what has gone before. You want to reread Invisible because it moves quickly, easily, somehow sinuously, and you worry that there were good parts that you read right past, insights that you missed. The prose is contemporary American writing at its best: crisp, elegant, brisk. It has the illusion of effortlessness that comes only with fierce discipline. As often happens when you are in the hands of a master, you read the next sentence almost before you are finished with the previous one…if, like me, part of why you read is the great pleasure of falling in love with a novel, then read Invisible. It is the finest novel Paul Auster has ever written.
—The New York Times
Publishers Weekly
In his latest, Auster is in classic form, perhaps too perfectly satisfying the contention of his wearied protagonist: “there is far more poetry in the world than justice.” Adam Walker, a poetry student at Columbia in the spring of 1967, is Auster's latest everyman, revealed in four parts through the diary entries of a onetime admirer, the confessions of his once-close friend, the denials of his sister and Walker's own self-made frame. With crisp, taut prose, Auster pushes the tension and his characters' peculiar self-awareness to their limits, giving Walker a fractured, knowing quality that doesn't always hold. The best moments from Walker's disparate, disturbing coming-of-age come in lush passages detailing Walker's conflicted, incestuous love life (paramount to his “education as a human being,” but a violation of his self-made promise to live “as an ethical human being”). As the plot moves toward a Heart of Darkness–style journey into madness, the limits of Auster's formalism become more apparent, but this study of a young poet doomed to life as a manifestation of poetry carries startling weight. (Nov.)
Library Journal
Auster's 15th novel at first may sound like another story about the familiar themes the writer's fans have come to expect: Brooklyn and New York, bohemian protagonists and their enigmatic sidekicks, meaningful quests for truth, and convoluted plots realistic enough to keep you from second-guessing the actions of the characters. Indeed, the story incorporates all such elements: divided into four distinct parts, told by three different narrators, and spanning 40 years, it is centered on the relationship among an aspiring Columbia University student-poet, a mysterious professor, and the professor's girlfriend that starts out as friendship but ends in manipulation and murder. Whether such themes still excite longtime Auster fans is less important than his still remarkably strong storytelling—perhaps even more so than in recent works of fiction—that his characters are still unpredictable and full of passion for life, and that once we start reading those masterfully bare sentences, we don't want to stop. VERDICT If you've never read Auster, this is a great place to start and work your way backward to such classics as the City of Glass and Leviathan. If you've been a fan for a long time, you will not be disappointed.—Mirela Roncevic, Library Journal
Kirkus Reviews
Many readers familiar with the work of Paul Auster consider him to be one of the most profound and provocative of contemporary novelists, a literary magician, a master of making fiction about the art-or the sleight-of-hand illusion-of making fiction. Auster attracted a loyal following in the mid-1980s for what was subsequently known as his New York Trilogy-an elliptical trio of genre subversions and meditations on identity-but his reviews have been mixed in the two decades since the subsequent Moon Palace and The Music of Chance. Now comes Invisible, a novel of such virtuosity and depth that it should not only unite the faithful in a hallelujah chorus, it deserves to draw legions of converts as well. More than a return to form, this might be Auster's best novel yet, combining his postmodern inquiries into the nature of fiction and the essence of identity-the interplay between life and art-with a thematic timelessness in its narrative of virtue and evil, guilt and redemption. If this isn't quite Auster's Crime and Punishment, it could be his Notes from the Underground. It's also a novel he couldn't have written a couple of decades ago, during what was previously considered his peak. Though it concerns a 20-year-old, literary-minded student at Columbia University in 1967-when the literary-minded Auster was the same age at the same university-its narrative reflects the autumnal perspective of four decades later, with a protagonist whose life has taken different turns than Auster's. In fact, there are three distinct narrative voices, as sections employ the first-person "I," the second-person "you" and the third person "he" in relating the story of how the student's encounter with a visitingprofessor from Paris and his silent, seductive girlfriend changes the lives of all three and others as well. The labyrinth of plot and narrative also includes the student's beautiful sister, a mother and daughter in France through whom he seeks atonement and a fellow Columbia alum who has become, like Auster, a successful writer. There are sins, obsessions, a corpse and a thin line between fantasy and memory. To reveal more would rob the reader of the discoveries inherent within this novel's multilayered richness. Auster writes of "the obsessive story that has wormed its way into your soul and become an integral part of your being." This is that story.

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Meet the Author

Paul Auster nació en 1947 en Nueva Jersey y estudió en la Universidad de Columbia. Tras un breve período como marino en un petrolero, vivió tres años en Francia, donde trabajó como traductor, "negro" literario y cuidador de una finca; desde 1974 reside en Nueva York. Galardonado con el Premio Príncipe de Asturias de las Letras en 2006 por su carrera literaria.

Brief Biography

Brooklyn, New York
Date of Birth:
February 3, 1947
Place of Birth:
Newark, New Jersey
B.A., M.A., Columbia University, 1970

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