Paul Auster
Paul Auster
Paul Benjamin Austeris an American author and director whose writing blends absurdism, existentialism, crime fiction, and the search for identity and personal meaning in works such as The New York Trilogy, Moon Palace, The Music of Chance, The Book of Illusions, and The Brooklyn Follies. His books have been translated into more than forty languages...
NationalityAmerican
ProfessionNovelist
Date of Birth3 February 1947
CityNewark, NJ
CountryUnited States of America
The funny thing is, as a young person I was trying to write prose, and I wrote a lot of it, but I was never satisfied with the results. Two of the novels I wound up finishing and publishing later I started very early on, in my early 20's, In The Country Of Last Things and Moon Palace. Both of those books I worked a great deal on but never quite got a grip on either one.
I'm living in the present, thinking about the past, hoping for the future.
With a computer, you make your changes on the screen and then you print out a clean copy. With a typewriter, you can't get a clean manuscript unless you start again from scratch. It's an incredibly tedious process.
I really, truly believe that writing comes out of the body; of course, the mind is working as well, but it's a double thing and that doubleness is united. I mean, you can't separate persona from psyche; you just can't do it.
I've always written by hand. Mostly with a fountain pen, but sometimes with a pencil - especially for corrections.
Children, I mean, think of your own childhood, how important the bedtime story was. How important these imaginary experiences were for you. They helped shape reality, and I think human beings wouldn't be human without narrative fiction.
If I could write directly on a typewriter or a computer, I would do it. But keyboards have always intimidated me. I've never been able to think clearly with my fingers in that position. A pen is a much more primitive instrument. You feel that the words are coming out of your body and then you dig the words into the page.
It's no accident that he should've felt that way because I very consciously was writing a book about the 20th century. In fact, all during the writing of the book I had a subtitle in mind, not that I was going to use it but it was kind of a working tool, which was "Anna Bloom Walks Through The 20th Century.
I don't judge these things by numbers. How many people read 'Paradise Lost' when it was published? Two hundred? Three? As long as there's one reader, the book is doing what a book does. Books are irreplaceable, because they're the only place in the universe where two strangers can meet on absolutely intimate terms. We need to tell stories as human beings. People are as hungry for that as they have ever been.
The best filmmakers, I think, have always had very narrow frameworks for their stories, and then they can go deeply, rather than skimming the surface.
When I start, I have a feeling for the characters, and maybe the shape of the story. Sometimes I might even have the last sentence in mind. But, no book I've ever written has ever ended the way I thought it would. Characters disappear, others come forward. Once you start writing, everything changes.
When I think of Tokyo Story, yeah, it is like a novella. That doesn't mean it's not great. Some of my favorite Tolstoy works are his novellas.
I think the act of talking about something - with a friend, or someone in your family, or someone you care about, and you're discussing something that you both admire - can often sharpen your thoughts about what you've read or seen and help you think more clearly about it.
There are certain phrases in books of mine, and I don't know where they came from, or how I was capable of thinking up these formulations. It's only in the heat of composition that these things occur to you.