"How to Get Out of the Room That Is the Book?" Paul Auster and the Consequences of Confinement

Fredman, Stephen

doi:10.1353/pmc.1996.0024

Cited by 8 publications

(15 citation statements)

References 7 publications

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“…It was all an accident, a hoax he had perpetrated on himself." 114 To illustrate the failure of genealogical readings, Briggs, in a strikingly similar way, in the example given earlier, has tried to trace the origins and meaning of the notebook and of Auster's intersecting diegetic worlds. Banks also engages in a similar process of detecting when she tries to disentangle the conflicting biographies of recurrent Auster characters that reappear in different Auster texts.…”

Section: Intratextmentioning

confidence: 99%

“…This labyrinth offers a venture of interpretation, a detective-like adventure. 117 From within three distinguished types of labyrinths (the classic Greek linear-design labyrinth, the Mannerist's meandering maze, and the net), Eco posits the third, which he also calls the rhizome, referring to Deleuze and Guattari's concept. 118 The playful adventure of interpretation that Šuvajevs refers to here can for Eco only take place within the rhizomatic labyrinth where one cannot make any mistakes but only meander, discover, and establish connections.…”

Section: Intratextmentioning

confidence: 99%

“…116 Banks, "Connection Exists," 151. 117 Igors Šuvajevs' afterword to the Latvian edition of Umberto Eco's novel The Name of the Rose. See Šuvajevs, "Eko vārds," in Umberto Eko, Rozes vārds (Rīga: J. Rozes apgāds, 1998), 683-694 (my translation).…”

Section: Intratextmentioning

confidence: 99%

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Paul Auster's writing machine: a thing to write with

2015

Choice Reviews Online

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Borrowing from the French philosophers Gilles Deleuze and Félix Guattari's concept of the rhizome, this thesis explores the intratextuality and self-referentiality of contemporary American author Paul Auster's work, with a focus on his films and collaborative projects, which so far have suffered critical neglect. In Auster's selfand cross-referential body of work (the so-called "intratext"), where each text is always "a part of" and yet "a multiplicity" of other related texts, and where, in Auster's own words, "everything is connected to everything else," looking for singular, fixed meanings would be a futile task.Instead, one can explore the plethora of shifting meanings by reading his texts rhizomatically and by following or "tracing" the associations, values and functions of the elements that work to assemble each text and its constituent parts (a story, a character, a plot situation, a diegetic space). This study does this by following, in terms of Bruno Latour's actor-network theory, the meanings and work of several recurrent "things" in Auster's texts, such as cigarettes, typewriters and doppelgängers, which together assemble the emblematic writer-figure (the chain-smoking, typewriting New York writer), an image also associated with the empirical author himself. Functioning as prosthetic writing tools, they also construct what this study calls Auster's "writing machine." Taking the work of Paul Auster as an illustrative case, this is, in a broader sense, a thesis about assembling texts and textual networks, the writing machines that produce them, and the ways that such machines invest them with meaning.

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Section: Intratextmentioning

confidence: 99%

Section: Intratextmentioning

confidence: 99%

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Paul Auster's writing machine: a thing to write with

2015

Choice Reviews Online

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“…Afirma Fredman refiriéndose a la obra de Paul Auster, White Spaces (1980): "In this work of poet's prose, Auster insists over and over again on the physicality of writing. He makes this physicality graphic by welding together three distinct spaces: the room, the space in which writing is enacted; the interior space where writing happens in the writer; and the space on the page the words occupy"(Fredman, 1996).…”

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confidence: 99%

Espacios de confinamiento y liberación en La vida breve de Onetti

Lubelski¹

2022

Monteagudo

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La narrativa del escritor uruguayo Juan Carlos Onetti se desarrolla primordialmente dentro de un entorno urbano que remite a la zona del Río de la Plata. Es en los espacios interiores de ese entorno donde el drama existencial de los personajes cobra su máxima intensidad. Las habitaciones, junto con los espacios sociales y laborales de la ciudad, son testigos de las frustraciones y de la falta de fe de sus personajes, impidiéndoles establecer una vida afectiva estable, y ello en oposición a los espacios externos que sugieren una eventual liberación y el logro de una efímera felicidad. Este artículo analiza la configuración de dichos espacios internos y su interacción con el drama humano de sus personajes, en una de las obras más logradas del autor: La vida breve.

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“…As Stephen Fredman illustrates, Blue imprisons himself in the room that is the book, an exclusively masculine arena of creativity, and allows his life to fall away completely as he myopically concentrates on Black and his writing. 24 Having failed to phone his fiancée since the case began, Blue bumps into her in the street on the arm of another man. Her anger and unhappiness lead him to understand finally that '' he has thrown away his life _ He might have been dead for all she knew, and how can he hold it against her for wanting to live ?…”

mentioning

confidence: 99%

Carrying the Burden of Representation: Paul Auster's The Book of Illusions

Peacock

2006

J. Am. Stud.

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The most important thing in art is The Frame. For painting: literally; for other arts: figuratively – because, without this humble appliance, you can't know where The Art stops and The Real World begins. You have to put a “box” around it because otherwise, what is that shit on the wall?If John Cage, for instance, says, “I'm putting a contact microphone on my throat, and I'm going to drink carrot juice, and that's my composition,” then his gurgling qualifies as his composition because he put a frame around it and said so. “Take it or leave it, I nowwillthis to bemusic.” After that it's a matter of taste. Without the frame-as-announced, it's a guy swallowing carrot juice.

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"How to Get Out of the Room That Is the Book?" Paul Auster and the Consequences of Confinement

Cited by 8 publications

References 7 publications

Paul Auster's writing machine: a thing to write with

Paul Auster's writing machine: a thing to write with

Espacios de confinamiento y liberación en La vida breve de Onetti

Carrying the Burden of Representation: Paul Auster's The Book of Illusions

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