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
believe long stories
As long as there's one person to believe it, there's no story that can't be true.
doctors careers long
Becoming a writer is not a 'career decision' like becoming a doctor or a policeman. You don't choose it so much as get chosen, and once you accept the fact that you're not fit for anything else, you have to be prepared to walk a long, hard road for the rest of your days.
dream long way
As long as you are dreaming, there is always a way out
long trying done
Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.
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I feel now, in my impending old age, very lucky. I just can't tell you how lucky I feel, that I've managed to first of all, stay alive this long, in reasonably good health, and that I've been able to do what I want to do.
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Having made films, I know very well that the scope of the average 90- to 120-minute movie is about the same narrative heft as a long short story or a novella.
believe hands long
At that point, Noriko finally breaks down and begins to cry sobbing into her hands as the floodgates open - this young woman who has suffered in silence for so long, this good woman who refuse to believe she's good, for only the good doubt their own goodness, which is what makes them good in the first place. The bad know they are good, but the good know nothing. They spend their lives forgiving others, but they can't forgive themselves.
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The book is your book. You have been responsible for every single thing on every page, every comma, every syllable is your work.
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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.
blue
Blue in the Face' is a romp. It's kind of a modern-day vaudeville.
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Anyway, right around that time I had a problem with a wisdom tooth and I had to go to the dentist to have the thing pulled out, and it was while I was sitting in the chair in the dentist's office, the dentist had picked up this big pair of pliers and was just about to yank out my tooth when the telephone rang.
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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.
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I find it impossible to start a project without the title in mind. I can sometimes spend years thinking of the title to go with the thing that's forming in my head. A title defines the project somehow and if you keep finding the ramifications of the title in the work it becomes better, I'm convinced of this.
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I took a job with the U.S. Census Bureau. In The Locked Room, the third volume of the New York Trilogy, there's a sequence where the narrator talks about working for the census, and I took this straight from life. As in the book, I wound up inventing people. Kind of curious.