“A nearly flawless work . . . Auster will be remembered as one of the great writers of our time.” San Francisco Chronicle
“Mr. Auster's elegant, finely calibrated Book of Illusions is a haunting feat of intellectual gamesmanship.” The New York Times
“This noirish, layered tale will keep you guessing to the very end.” Time Out New York
The Barnes & Noble Review
Paul Auster is a superb memoirist (The Invention of Solitude), an original, sometimes enigmatic novelist (The New York Trilogy), and a screenwriter responsible for such idiosyncratic creations as Smoke and Lulu on the Bridge. The Book of Illusions brings together his gift for fluid, evocative prose and his ongoing fascination with the aesthetics of film to produce a dark, moving meditation on the power -- and fragility -- of art.
College professor David Zimmer succumbs to an extended, near-suicidal depression when his wife and sons die in a plane crash. While mindlessly channel-surfing one drunken evening, he stumbles across a clip from a silent comedy starring Hector Mann, a mysterious figure who disappeared in 1929. Intrigued -- then ultimately obsessed -- by Mann, Zimmer devotes himself to a rigorous examination of Mann's 12 films and eventually publishes a critical study on them. When the book comes out, a stranger contacts Zimmer, informing him that Mann is very much alive and inviting him to the filmmaker's private hideaway in New Mexico. What follows is a complex, constantly surprising story -- a narrative of Zimmer's cross-country journey and a series of revelations about the guilty secret that warped Mann's life, changing him from an ambitious artist to a reclusive genius living in a self-contained world.
Packed with narrative pleasures -- most notably the detailed analyses of Mann's films, descriptions so precise and thoroughly real it's difficult to believe the films don't actually exist -- The Book of Illusions is an intelligent, elegantly written novel that displays Auster's prodigious talent for creating dark atmosphere and exposing the mysterious connections between art and life. Bill Sheehan
David Zimmer, an English professor in Vermont, is trying to rebuild his life-after his family perishes in an airplane crash-by researching the work of Hector Mann, a minor figure from the era of silent movies, in this enigmatic, elliptical 10th novel, one of Auster's best. As in much of the writer's fiction, the narrative revolves around coincidence, fate and odd resonances. Mann's world, like Zimmer's, collapses in a single instant, and Mann, like Zimmer, embarks on self-imposed exile as a way to deal with his grief and do penance. Mann disappeared at the height of his career in 1929, but when Zimmer's book about him is published in the 1980s, it elicits a mysterious invitation: would Zimmer like to meet Mann, who is alive and has been working in secret as actor/director Hector Spelling? The skeptical scholar is lured from Vermont by Alma Grund, who grew up around Mann and is writing his biography. As Grund and Zimmer fall in love, she fills in the decades-long gap in Mann's life-a strange American odyssey that culminated on a ranch in New Mexico where he made movies he refused to screen for anyone. As in previous novels, Auster here makes the unbelievable completely credible, and his overall themes are very much of a piece with those of earlier works: the "mutinous unpredictability of matter" and the way storytellers shape and organize unpredictability. A darker and more somber mood shadows this book; Mann and Zimmer both are tragic figures-even melodramatic-and their stories are compelling. Auster is a novelist of ideas who hasn't forgotten that his first duty is to tell a good story. (Sept.) Forecast: Auster devotees will fall upon his latest with glee, recognizing it as a worthy successor to his classic New York Trilogy. The novel should do very well in the short run-it is a BOMC and QPB selection, and foreign rights have been sold in 16 countries-but its true success may be as a staple of Auster's backlist. Author tour. Copyright 2002 Cahners Business Information.
After his wife and two young sons are killed in a plane crash, comparative literature professor David Zimmer is unable to deal with his grief. By accident, he discovers the works of Hector Mann, an almost forgotten silent film comedian and director who disappeared in 1929. Writing a book about Hector's 12 short films brings a degree of order into David's life. Then David discovers that Hector is not only still alive but has been making films in secret on his New Mexico ranch. David's strange journey there leads to more chaos, death, and guilt. Like Auster's best works, such as The New York Trilogy, The Book of Illusions is a postmodern meditation on the nature of art, especially the question of which is more important, art or life, and whether they are inseparable for the artist. David's investigation into Hector's unusual life and the descriptions of his films are fascinating. Auster himself reads in a slightly halting manner, reminiscent of Rod Serling, though his often melodramatic tale might have been better served by a professional reader. Recommended for all collections.-Michael Adams, CUNY Graduate Ctr. Copyright 2003 Reed Business Information.
Auster's tenth novel is one of his finest: an elegant meditation on the question of whether an artist or his public "owns" the work he creates, and a thickly plotted succession of interlocking mysteries reminiscent of his highly praised New York Trilogy (The Locked Room, 1986, etc.). Narrator David Zimmer is a professor of comparative literature at a small Vermont college with an impressive resumé and a promising academic future, until his wife and young sons perish in a 1985 plane crash. Following an extended period of drunken despair (eloquently and harrowingly described), Zimmer indulges a casual interest in obscure silent film comedian hector Mann, whose disappearance in 1929 has never been explained. David researches and writes a book about Mann's films (occasioning several brilliant set pieces summarizing their contents), and in 1988 receives a letter from New Mexico informing him that Hector Mann is still alive, and is interested in meeting David. The novel picks up dizzying speed as that letter (ostensibly sent by Mann's protective wife Frieda Spelling) is followed by the appearance of Alma Grund (a beautiful young woman despite a disfiguring facial birthmark), who brings David to the (now nonagenarian) Mann's southwestern ranch, spins a lavish tale of scandal and self-exile that fills in a 60-year gap, and compulsively recapitulates the former comedian's various fateful ordeals, leaving Zimmer once again bereaved and alone. The heavy excess of plot never feels arbitrary or contrived, because Auster (Timbuktu, 1999, etc.) writes with such persuasive directness about both Zimmer's conflicted death-in-life and efforts to get beyond it, and Mann's understandably buried past and quietdesperation to order and give meaning to-and eventually extinguish-his accident-strewn personal history. Further dimensions are added by Zimmer's ironically thematically related intellectual pursuits, particularly his fascination with French writer Chateaubriand's elusive, many-leveled autobiography. In many ways, a summa of Auster's entire oeuvre, and a gripping and immensely satisfying novel in its own right. Author tour