Word: austerities
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Such self-consciousness is the mark of much modern writing as well—quite notably, that of Paul Auster. Auster is a master of metafiction, writing about stories and within stories, writing about writers and the act of writing. From his initial success with 1987’s “New York Trilogy” to more recent novels like 2004’s “Oracle Night” and now with “Invisible,” Auster continues to surround his novels’ protagonists in layers of text...
...Auster continues exploring Walker’s past: a shocking tragedy that changes him and his perception of himself, then his sexual exploits in New York and Paris, and later interactions with Born that bring the truth into a somewhat brighter—though still dim—light. This truth is found in the fourth section, in a combination of Freeman’s words and the diary of a third character that highlights the layers of text that obscure Walker’s identity...
More than that, however, the novel remains plot-oriented; words are at the service of furthering the plot and not artistry. Vladimir Nabokov once wrote that a major writer is simultaneously a storyteller, teacher, and enchanter, and though Auster has the first two mastered— Auster can weave intricate tales that span decades and miles—he is only halfway to enchantment in “Invisible.” His fascinating dance between past and present helps him approach this ideal, but “Invisible” has no moments of literary magic...
This melting, however, doesn’t obscure the fact that Auster is a master of crafting intricate tales within tales. His novels are supremely readable and enticing. But even though his characters search for identity, like Walker in “Invisible,” they remain just that—invisible. Like Courbet, Auster has managed to create a work of art out of the awareness of tradition. He just never manages to break from...
...countries is that nine out of 10 French know who Marceau was, while only one in 10 Americans has heard of Mailer. And others, more mischievous still, would assert that Mailer was better known in Europe than in the U.S. Indeed, Woody Allen, William Klein, Philip Roth, Paul Auster and so many other American creative spirits are bigger draws in this country, with its supposedly moribund culture, than they are in the U.S. No doubt, you will say, this is because our French artists are not up to scratch, and our public turns to talents from elsewhere...