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Fujii 1 Appendix “Collected Paul Auster: an Annotated Bibliography

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Fujii 1 Appendix “Collected Paul Auster: an Annotated Bibliography Fujii 1 Appendix “Collected Paul Auster: An Annotated Bibliography” Introduction My aim in this project is to collect all materials available, so that the study of Paul Auster from every perspective would be possible. The resources for this project are MLAIB, bibliographies by Carsten Springer and William Drenttel, and other resources. Since there has been no satisfactory annotated bibliography of the Auster study, my project would benefit anyone who is going to study his work. What follows consists of ten parts: poetry, plays, novels, autobiographical writings, film scripts, essays and other contributions to periodicals, and interviews as primary sources, bibliographies, academic articles and reviews as secondary sources. Because of my linguistic inability, I could offer annotations only to English materials. Materials in other languages, mostly in French, are given only bibliographical information. Since there are considerable number of essays in French, to read them would be essential task for the study of Paul Auster. I also omitted articles that merely offer general biography of Auster, and reviews of commercial purpose. The First important essay on Paul Auster’s fiction is Alison Russell’s “Deconstructing The New York Trilogy: Paul Auster’s Anti-Detective Fiction,” which appeared in 1990. It oriented the major trend of Auster criticism in the 1990s: The New York Trilogy, deconstruction, and anti-detective fiction. As we can see in this bibliography, the study of Paul Fujii 2 Auster has concentrated in his Trilogy, especially in City of Glass. Most of the essays on the Trilogy discuss it as an example of postmodern anti-detective novel, which deconstructs the conventions of traditional detective fiction, and places Auster among other postmodern writer such as Thomas Pynchon and Don DeLillo. Other essays also discuss his work from postmodern perspectives: intertextuality, question of authorship, linguistic investigation, and question of identity. Other perspectives, such as his relationship with Jewish writing or the influence of French writers, have not been fully unexplored. Unlike The New York Trilogy, his recent novels, films, and autobiographical writings as well as his poetry in the 1970s are yet to be analyzed. It would be the next task for the Auster study to place those works, which are as important as the Trilogy, in the fascinating world of Paul Auster. There are many possibilities to be explored in the study of his work. After all, the study of Paul Auster has just begun. Fujii 3 List of Abbreviations Amst Amerikastudien: American Studies ConL Contemporary Literature EJES European Journal of English Studies JMMLA Journal of Midwest Modern Language Association LIT Literature Interpretation Theory MagLitt Magazine Litteraire MFS Modern Fiction Studies RCF Review of Contemporary Fiction REAL The Yearbook of research in English and American Literature RFEA Revue Francaise d’Etudes Americaines Fujii 4 Primary Sources a) Poetry [1] Selected Poems. London: Faber, 1988. Reproduces the contents of Disappearances: Selected Poems 1970-1979, which was in turn culled from the following books, previously published in USA: Unearth (1974), Wall Writing (1976), Fragments from Cold (1977), White Spaces (1980), Facing the Music (1980). b) Plays [1] Laurel and Hardy Go to Heaven. Hand to Mouth. New York: Holt, 1997: 133-171. Two men, Laurel and Hardy, build a stone wall as their daily task, according to the orders handed to them. Their names are taken from the comedian duo in the 1920s. The idea of building a huge stone wall is reminiscent of Kafka’s “The Great Wall of China” and also appears in subsequent novels, In the Country of Last Things and The Music of Chance. [2] Blackouts. Hand to Mouth. New York: Holt, 1997. 172-194. Blue, a private eye, comes to Black’s office and tells him the story of his tailing and watching a writer for several years. Green, an old man, records the conversation between them. The basic story and the protagonist’s name are same as those of Ghosts. Fujii 5 [3] Hide and Seek. Hand to Mouth. New York: Holt, 1997. 195-214. A man and a woman, each standing in a box with a glassless window and a pair of curtains, exchange abstract conversations: about the color of blue, their past, the walls that enclose them. The author’s linguistic concern is prominent. One of the remarks of the woman corresponds to a passage in In the Country of Last Things. c) Novels [1] City of Glass. 1985. The New York Trilogy. London: Faber, 1987. 1-132. The first volume of the Trilogy. Quinn, a detective writer, happens to take a real detective’s job as “Paul Auster” to help Peter Stillman Jr., and begins to tail Peter Stillman Sr., who conducted a linguistic experiment on his son and was recently released. Wandering through the streets of New York, Stillman Sr. tries to re-create the prelapsarian language and his daily walks from letters which are presumably parts of the phrase “THE TOWER OF BABEL.” Abruptly characters vanish, and Quinn finds the real Paul Auster, a writer. After that, Quinn lives like a homeless and vanishes, leaving a red notebook. The novel explores the question of identity, authorship, and the problem of language, employing the form of the detective story. [2] Ghosts. 1986. The New York Trilogy. London: Faber, 1987. 133-196. The second volume of the Trilogy. All characters are named after the names of colors. Blue, a private eye, is asked by white to shadow Black, a writer. Black does nothing remarkable but sits in his room, writing Fujii 6 and reading. As the task proceeds, Blue feels that he is not watching Black but himself, and the identities of the two begins to merge. Ghosts also explores the question of identity, language, and the problem of writing about another person. Thoreau’s Walden plays a center role in the novel. [3] The Locked Room. 1987. The New York Trilogy. London: Faber, 1987. 197-314. The third volume of the Trilogy. The nameless narrator learns that his boyhood friend Fanshawe has been missing, presumably dead, leaving his manuscripts for his wife, Sophie. The narrator, named as the executor of the manuscripts, has them published successfully, and marries Sophie, replacing Fanshawe’s position. Learning Fanshawe is alive, the narrator takes the job of writing his biography and starts to track him down, which he fails. At last he meets Fanshawe in Boston, and Fanshawe, refusing to face him, gives him a red notebook which explains all his behavior. The influence of Hawthorne is prominent: “Fanshawe” is the title of his first novel, and the novel enacts the “Wakefield” motif of a man’s stepping out of his life. As in the other two volumes of the Trilogy, the narrator and Fanshawe are another pair of doubles, and the narrator, a biographer, becomes a literary detective. [4] In the Country of Last Things. London: Faber, 1987. Auster’s fourth novel, which takes the form of a long letter written by Fujii 7 the female protagonist Anna Blume. She, in search for her missing brother, has come to a city where things collapse and vanish, and nothing new is produced. Her letter records her struggle to survive in the city: she starts as a scavenger and one day meets an old woman Isabel, and begins to live with her and her husband Ferdinand. After the couple die, she finds Sam Farr, her brother’s successor in the library. Then she has an accident and stays in a charity institution Woburn House, planning to escape out of the city. Generally the novel is regarded as a dystopia science fiction, such as Orwell’s 1984 and Huxley’s Brave New World. [5] Moon Palace. London: Faber, 1989. The protagonist M. S. Fogg, an orphan who comes to New York in the late 60s to study at Columbia University, learns the death of Uncle Victor, the sole relative he knows. Fogg begins to abandon his life and winds up homeless in Central Park, until a friend Zimmer and a Chinese woman Kitty Wu save him. Fogg and Wu become lovers, and he finds a job of taking care of an eccentric, blind old man Effing, who was once a promised painter. Effing tells various tales to Fogg, and after he dies, Fogg meets his son Solomon Barber. Wu’s pregnancy and abortion lead them to break up, and Fogg finds out the fact that Barber is his father. After Barber dies from the accident in the graveyard of Fogg’s mother, Fogg starts traveling westward by himself, and finally arrives at the Pacific coast. Fogg is the narrator-protagonist, and he shares some biographical facts with Auster, especially in the beginning Fujii 8 parts of the novel. The major subject is the father – son relationships. [6] The Music of Chance. London: Faber, 1990. The subjects of the novel are chance, the questions of freedom and confinement and of obligation and redemption, and of money and gambling. The protagonist Nashe accidentally inherited a large sum of money by the death of his long-absent father. Nashe quits his job, leaves family, and drives through America aimlessly. When the money becomes scarce, he picks up Pozzi, a gambler on his way to a poker game with two eccentric millionaires, Flower and Stone. Nashe joins him and offers his remaining money as the initial sum for the game. At the end of the game in the mansion of the millionaires, Nashe and Pozzi lose all the money, as well as Nashe’s car, and are left with a ten thousand dollar debt. In order to pay the debt they take the task of building of a wall from ten thousand stones by hand.
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