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The Red Notebook: True Stories [NOOK Book]


The Red Notebook brings together in one volume all of Paul Auster's short, true-life stories—a remarkable collection of tales that documents the curious, miraculous, and sometimes catastrophic turns of everyday reality.

Paul Auster has earned international praise for the imaginative power of his many novels, including The New York Trilogy, Moon Palace, The Music of Chance, Mr. Vertigo, and Timbuktu. He has also published a number of highly original non-fiction works: The Invention of Solitude, Hand to Mouth, and ...
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The Red Notebook: True Stories

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The Red Notebook brings together in one volume all of Paul Auster's short, true-life stories—a remarkable collection of tales that documents the curious, miraculous, and sometimes catastrophic turns of everyday reality.

Paul Auster has earned international praise for the imaginative power of his many novels, including The New York Trilogy, Moon Palace, The Music of Chance, Mr. Vertigo, and Timbuktu. He has also published a number of highly original non-fiction works: The Invention of Solitude, Hand to Mouth, and The Art of Hunger. In The Red Notebook, Auster again explores events from the real world large and small, tragic and comic—that reveal the unpredictable, shifting nature of human experience. A burnt onion pie, a wrong number, a young boy struck by lightning, a man falling off a roof, a scrap of paper discovered in a Paris hotel room—all these form the context for a singular kind of ars poetica, a literary manifesto without theory, cast in the irreducible forms of pure story telling.
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Editorial Reviews

Times Literary Supplement
One of America's most spectacularly inventive writers.
Boston Globe
Auster has added some new dimensions to modern literature and—more importantly even—to our perspectives on the planet.
Wall Street Journal
A literary original who is perfecting a genre of his own.
Kevin Greenberg
Chance, coincidence and mystery converge in this original collection of true stories from one of America's most compelling novelists. The book documents everyday events which nonetheless hint at the magical. Taking an atypical route home, a man meets a stranger who offers him her copy of the out-of-print book he's been searching for unsuccessfully. Near starvation in rural France, the author and his then-girlfriend are saved by the unexpected arrival of a man named Sugar. This slim volume features uncanny, often powerful, stories from Auster's own life, as well as those related to him by friends or acquaintances. Accessible and elegant, it¹s a great read.
Publishers Weekly
The arresting stories in this slim collection by Auster (The New York Trilogy, etc.) go a long way toward answering the perennial question "Why write?" The book contains four short narratives: "The Red Notebook," "It Don't Mean a Thing," "Accident Report" and "Why Write?" All the tales and vignettes, hovering somewhere between fact and fiction, feature amazing little coincidences or linkages. In one brief chapter, Auster (as protagonist) loses a dime in a gutter in Brooklyn only to look down and find a dime later the same day. In another, he checks into a hotel room in an obscure hotel in Paris and finds a crumpled message from the desk to a close friend the previous occupant of the room. The most affecting stories, however, recount a more ineffable sense of connection: Auster makes it to the foot of a staircase to catch his little daughter just in time to keep her from sailing through a window; as a boy at summer camp, he is on a group hike when the boy next to him is struck by lightning and killed. What all the stories have in common is not a fixed outcome or meaning but a sense of the patterned meaningfulness of life. Readers will glimpse here how the act of witnessing itself provides the punch line. As Auster learned the hard way when he met Willie Mays one day and didn't have a pencil to get an autograph, the sense of wonder burgeons when we can record its source on paper. Agent, Carol Mann. (June 28) Forecast: Auster has always been a genre bender, and here he sets readers a new puzzle. There is sure to be discussion about just how "true" these stories are, which should stimulate interest in the collection. Copyright 2002 Cahners Business Information.
Boston Globe
“Auster has added some new dimensions to modern literature and—more importantly even—to our perspectives on the planet.”
The Wall Street Journal
“A literary original who is perfecting a genre of his own.”
Times Literary Supplement
“One of America's most spectacularly inventive writers.”
Review of Contemporary Fiction
There's a quiet sadness to these stories, a sense that... identities...are more fragile than we'd like to believe.— Valerie Ellis
Valerie Ellis - Review of Contemporary Fiction
“There's a quiet sadness to these stories, a sense that... identities...are more fragile than we'd like to believe.”
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Product Details

  • ISBN-13: 9780811221153
  • Publisher: New Directions Publishing Corporation
  • Publication date: 10/25/2012
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 104
  • Sales rank: 657,841
  • File size: 383 KB

Meet the Author

Paul Auster has earned international praise for the imaginative power of his many novels, including The New York Trilogy, Moon Palace, The Music of Chance, Mr. Vertigo, and Timbuktu. He has also published a number of highly original non-fiction works: The Invention of Solitude, Hand to Mouth, and The Art of Hunger.


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 & 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.

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    1. Also Known As:
      Paul Benjamin
    2. Hometown:
      Brooklyn, New York
    1. Date of Birth:
      February 3, 1947
    2. Place of Birth:
      Newark, New Jersey
    1. Education:
      B.A., M.A., Columbia University, 1970

Read an Excerpt

True Stories

By Paul Auster

A New Directions Book

Copyright © 2002 Paul Auster.
All rights reserved.
ISBN: 0811214982

Chapter One

In 1972, a close friend of mine ran into trouble with the law. She was in Ireland that year, living in a small village not far from the town of Sligo. As it happened, I was visiting on the day a plainclothes detective drove up to her cottage and presented her with a summons to appear in court. The charges were serious enough to require a lawyer. My friend asked around and was given a name, and the next morning we bicycled into town to meet with this person and discuss the case. To my astonishment, he worked for a firm called Argue and Phibbs.

    This is a true story. If there are those who doubt me, I challenge them to visit Sligo and see for themselves if I have made it up or not. I have reveled in these names for the past twenty years, but even though I can prove that Argue and Phibbs were real men, the fact that the one name should have been coupled with the other (to form an even more delicious joke, an out-and-out sendup of the legal profession) is something I still find hard to believe.

    According to my latest information (three or four years ago), the firm continues to do a thriving business.

Chapter Two

The following year (1973), I was offered a job as caretaker of a farmhouse in the south of France. My friend's legal troubles were well behind her, and since our on-again off-again romance seemed to be on again, we decided to join forces and take the job together. We had both run out of money by then, and without this offer we would have been compelled to return to America—which neither one of us was prepared to do just yet.

    It turned out to be a curious year. On the one hand, the place was beautiful: a large, eighteenth-century stone house bordered by vineyards on one side and a national forest on the other. The nearest village was two kilometers away, but it was inhabited by no more than forty people, none of whom was under sixty or seventy years old. It was an ideal spot for two young writers to spend a year, and L. and I both worked hard there, accomplishing more in that house than either one of us would have thought possible.

    On the other hand, we lived on the brink of permanent catastrophe. Our employers, an American couple who lived in Paris, sent us a small monthly salary (fifty dollars), a gas allowance for the car, and money to feed the two Labrador retrievers who were part of the household. All in all, it was a generous arrangement. There was no rent to pay, and even if our salary fell short of what we needed to live on, it gave us a head start on each month's expenses. Our plan was to earn the rest by doing translations. Before leaving Paris and settling in the country, we had set up a number of jobs to see us through the year. What we had neglected to take into account was that publishers are often slow to pay their bills. We had also forgotten to consider that checks sent from one country to another can take weeks to clear, and that once they do, bank charges and exchange fees cut into the amounts of those checks. Since L. and I had left no margin for error or miscalculation, we often found ourselves in quite desperate straits.

    I remember savage nicotine fits, my body numb with need as I scrounged among sofa cushions and crawled behind cupboards in search of loose coins. For eighteen centimes (about three and a half cents), you could buy a brand of cigarettes called Parisiennes, which were sold in packs of four. I remember feeding the dogs and thinking that they ate better than I did. I remember conversations with L. in which we seriously considered opening a can of dog food and eating it for dinner.

    Our only other source of income that year came from a man named James Sugar. (I don't mean to insist on metaphorical names, but facts are facts, and there's nothing I can do about it.) Sugar worked as a staff photographer for National Geographic, and he entered our lives because he was collaborating with one of our employers on an article about the region. He took pictures for several months, crisscrossing Provence in a rented car provided by his magazine, and whenever he was in our neck of the woods he would spend the night with us. Since the magazine also provided him with an expense account, he would very graciously slip us the money that had been allotted for his hotel costs. If I remember correctly, the sum came to fifty francs a night. In effect, L. and I became his private innkeepers, and since Sugar was an amiable man into the bargain, we were always glad to see him. The only problem was that we never knew when he was going to turn up. He never called in advance, and more often than not weeks would go by between his visits. We therefore learned not to count on Mr. Sugar. He would arrive out of nowhere, pulling up in front of the house in his shiny blue car, stay for a night or two, and then disappear again. Each time he left, we assumed that was the last time we would ever see him.

    The worst moments came for us in the late winter and early spring. Checks failed to arrive, one of the dogs was stolen, and little by little we ate our way through the stockpile of food in the kitchen. In the end, we had nothing left but a bag of onions, a bottle of cooking oil, and a packaged pie crust that someone had bought before we ever moved into the house—a stale remnant from the previous summer. L. and I held out all morning and into the afternoon, but by two-thirty hunger had gotten the better of us, and so we went into the kitchen to prepare our last meal. Given the paucity of elements we had to work with, an onion pie was the only dish that made sense.

    After our concoction had been in the oven for what seemed a sufficient length of time, we took it out, set it on the table, and dug in. Against all our expectations, we both found it delicious. I think we even went so far as to say that it was the best food we had ever tasted, but no doubt that was a ruse, a feeble attempt to keep our spirits up. Once we had chewed a little more, however, disappointment set in. Reluctantly—ever so reluctantly—we were forced to admit that the pie had not yet cooked through, that the center was still too cold to eat. There was nothing to be done but put it back in the oven for another ten or fifteen minutes...


Excerpted from THE RED NOTEBOOK by Paul Auster. Copyright © 2002 by Paul Auster. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

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  • Anonymous

    Posted July 8, 2002

    coincidence, or happy accidents?

    The random juxtaposition of related events, the delight in found relations, is the subject of this delightful small book. When I visited Scotland & England I arranged to see 2 unacquainted people, Ian and Dorothy - but Ian's wife and Dorothy's daughter were childhood playmates.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted August 4, 2009

    No text was provided for this review.

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