Paul Auster Reading Week continues! Be sure to check out Annabel’s excellent post on why you should try Auster. On Monday I reviewed Winter Journal and the New York Trilogy. Adding in last year’s review of Timbuktu, I’ve now read six of Auster’s books and skimmed another one (the sequel to Winter Journal). It’s been great to have this project as an excuse to get more familiar with his work and start to recognize some of the recurring tropes.
Oracle Night (2003)
This reminded me most of The Locked Room, the final volume of the New York Trilogy. There’s even a literal locked room in a book within the book by the narrator, a writer named Sidney Orr. It’s 1982 and Orr is convalescing from a sudden, life-threatening illness. At a stationer’s shop, he buys a fine blue notebook from Portugal, hoping its beauty will inspire him to resume his long-neglected work. When he and his wife Grace go to visit John Trause, Grace’s lifelong family friend and a fellow novelist, Orr learns that Trause uses the same notebooks. Only the blue ones, mind you. No other color fosters the same almost magical creativity.
For long stretches of the novel, Orr is lost in his notebook (“I was there, fully engaged in what was happening, and at the same time I wasn’t there—for the there wasn’t an authentic there anymore”), writing in short, obsessive bursts. In one project, a mystery inspired by an incident from The Maltese Falcon, Nick Bowen, a New York City editor, has a manuscript called Oracle Night land on his desk. Spooked by a near-death experience, he flees to Kansas City, where he gets a job working on a cabdriver’s phone book archive, “The Bureau of Historical Preservation,” which includes a collection from the Warsaw ghetto. But then he gets trapped in the man’s underground bunker … and Orr has writer’s block, so leaves him there. Even though it’s fiction (within fiction), I still found that unspeakably creepy.
In the real world, Orr’s life accumulates all sorts of complications over just nine September days. Some of them are to do with Grace and her relationship with Trause’s family; some of them concern his work. There’s a sense in which what he writes is prescient. “Maybe that’s what writing is all about, Sid,” Trause suggests. “Not recording events from the past, but making things happen in the future.” The novel has the noir air I’ve come to expect from Auster, while the layering of stories and the hints of the unexplained reminded me of Italo Calvino and Haruki Murakami. I even caught a whiff of What I Loved, the novel Auster’s wife Siri Hustvedt published the same year. (It wouldn’t be the first time I’ve spotted similar themes in husband‒wife duos’ work – cf. Jonathan Safran Foer and Nicole Krauss; Zadie Smith and Nick Laird.)
This is a carefully constructed and satisfying novel, and the works within the work are so absorbing that you as the reader get almost as lost in them as Orr himself does. I’d rank this at the top of the Auster fiction I’ve read so far, followed closely by City of Glass.
Report from the Interior (2013)
This sequel to Winter Journal came out a year later. Again, the autobiographical rendering features second-person narration and a fragmentary style. I had a ‘been there, done that’ feeling about the book and only gave it a quick skim. It might be one to try another time.
In the first 100-page section Auster highlights key moments from the inner life of a child. For instance, he remembers that the epiphany that a writer can inhabit another mind came while reading Robert Louis Stevenson’s poetry, and he emulated RLS in his own first poetic attempts. The history and pop culture of the 1950s, understanding that he was Jewish, and reaping the creative rewards of boredom are other themes. I especially liked a final anecdote about smashing his seventh-grade teacher’s reading challenge and being driven to tears when the man disbelieved that he’d read so many books and accused him of cheating.
Other sections give long commentary on two films (something he also does in Winter Journal with 10 pages on the 1950 film D.O.A.), select from letters he wrote to his first wife in the late 1960s while living in Paris, and collect an album of black-and-white period images such as ads, film stills and newspaper photographs. There’s a strong nostalgia element, such that the memoir would appeal to Auster’s contemporaries and those interested in learning about growing up in the 1950s.
Ultimately, though, this feels unnecessary after Winter Journal. Auster repeats a circular aphorism he wrote at age 20: “The world is in my head. My body is in the world. You will stand by that paradox, which was an attempt to capture the strange doubleness of being alive, the inexorable union of inner and outer”. But I’m not sure that body and mind can be so tidily separated as these two works posit. I got more of an overall sense of Auster’s character from the previous book, even though it was ostensibly focused on his physical existence.
The library at the university where my husband works holds another four Auster novels, but I’ll wait until next year to dive back into his work. After reading other people’s reviews, I’m now most keen to try The Brooklyn Follies, Invisible and In the Country of Last Things.
Have you tried anything by Paul Auster this week?
The Zookeeper’s Wife
By Diane Ackerman
A different sort of Holocaust story, set at Warsaw Zoo in the years surrounding World War II. Even after Nazis dismantled their zoo and killed many of the larger animals, Jan and Antonina Żabiński stayed at their home and used the zoo’s premises for storing explosives and ammunition for Jan’s work in the Polish resistance as well as sheltering “Guests,” Jews passing through. This is a gripping narrative of survival against the odds, with the added pleasure of the kind of animal antics you’d find in a Gerald Durrell book. Their son Ryszard kept as pets a badger who bathed sitting back in the tub like a person and an arctic hare who stole cured meats like “a fat, furry thug.” Much of the book is based on Antonina’s journals, but I wish there had been more direct quotes from it and less in the way of reconstruction.
Walking Away: Further Travels with a Troubadour on the South West Coast Path
By Simon Armitage
As a sequel to Walking Home, the account of his 2010 trek along the Pennine Way, Armitage walked much of England’s South West Coast Path in August–September 2013. As before, he relied on the hospitality of acquaintances and strangers to put him up along the way and transport his enormous suitcase for him so he could walk about 10 miles a day to his next poetry reading. Emulating a modern-day troubadour, Armitage passed around a sock at the end of readings for donations (though the list of other stuff people left in the sock, with which he closes the book, is quite amusing). Along the way he meets all kinds of odd folk and muses on the landscape and the distressing amounts of seaside rubbish. His self-deprecating style reminded me of Bill Bryson. A pleasant ramble of a travel book.
Winter World: The Ingenuity of Animal Survival
By Bernd Heinrich
This great seasonal read carefully pitches science to the level of the layman. Heinrich, an emeritus professor of biology at the University of Vermont, surveys various strategies animals use for surviving the winter: caching food, huddling together, hibernating or entering torpor, and lowering their body temperature – even to the point where 50% of their body water is ice, as with hibernating frogs. He carries out ever so slightly gruesome experiments that make him sound like a lovably nutty professor:
To find out how quickly a fully feathered kinglet loses body heat, I experimentally heated a dead kinglet and then measured its cooling rate. … I do not know how many seeds a chipmunk usually packs into each of its two pouches—I easily inserted sixty black sunflower seeds through the mouth into just one pouch of a roadkill.
His passion for knowledge carries through in his writing. I came away with a fresh sense of wonder for how species are adapted to their environments: “Much that animals have evolved to do would have seemed impossible to us, if experience has not taught us otherwise.”
Poor Your Soul
By Mira Ptacin
Ptacin’s memoir is based around two losses: that of her brother, in a collision with a drunk driver; and that of a pregnancy in 2008. She skips back and forth in time to examine the numb aftermath of trauma as well as the fresh pain of actually going through it. In places I felt Ptacin sacrificed the literary quality hindsight might have allowed, prioritizing instead the somewhat clichéd thoughts and responses she had in the moment. Still, I loved so much about this book, especially her memories of growing up in the cereal capital of America and the account of her mother coming to America from Poland. Her mother is a terrific character, and it’s her half-warning, half-commiserative phrase that gives the novel its title (not a typo, as you might be forgiven for thinking): a kind of Slavic “I pity the fool.”
Miss Fortune: Fresh Perspectives on Having It All from Someone Who Is Not Okay
By Lauren Weedman
Weedman is a playwright and minor celebrity who’s worked on The Daily Show, Hung and Looking. This is a truly funny set of essays about marriage (from beginning to end), motherhood, working life and everything in between. Self-deprecatingly, she focuses on ridiculous situations she’s gotten herself into, like the world’s unsexiest threesome and an accidental gang symbol tattoo. Amid the laughs are some serious reflections on being adopted and figuring out how to be a responsible stepmother. With a warning that parts can be pretty raunchy, I’d recommend this to fans of David Sedaris and Bossypants.