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
When you pick up a book, everyone knows it's imaginary. You don't have to pretend it's not a book. We don't have to pretend that people don't write books. That omniscient third-person narration isn't the only way to do it. Once you're writing in the first person, then the narrator is a writer.
Human beings need stories, and we're looking for them in all kinds of places; whether it's television, whether it's comic books or movies, radio plays, whatever form, people are hungry for stories.
People look at the same passage, and one person will say this is the best thing he's ever read, and another person will say it's absolutely idiotic. I mean, there's no way to reconcile those two things. You just have to forget the whole business of what people are saying.
We all die, we all get sick, we all feel hunger and lust and pain, and therefore human life is consistent from one generation to the other. We all - most of us, anyway - want connections with other people and spend our lives looking for them.
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.
Reading, at the deepest level, is a physical experience. Most people are not attuned to this, most people don't learn how to read - poetry for example, or high-quality prose. They're used to reading magazines and newspapers, which are only of the mind, but not of the body.
I have difficulty orienting myself in space, and I'm probably one of the few people who gets lost in Manhattan.
It's an ethical pact I've made with myself and with the reader - not to invent. And when I can't remember, I say I can't remember. I'm just appalled by the memoirs published by people who regurgitate dialogue, conversations from when they were small children, and they go on for three or four pages. I can't even remember what we said to each other ten minutes ago! How can I remember what was said sixty years ago? It's not possible.
Most people are participating in the grand adventure of living with one another.
Some people are great, and they approach each work with honesty, and that's wonderful. But when people have built up a sort of resentment or animosity for reasons that are hard to put your finger on, they read in bad faith.
The moon people do not eat by swallowing food but by smelling it. Their money is poetry - actual poems, written out on pieces of paper whose value is determined by the worth of the poem itself.
People who don't like my work say that the connections seem too arbitrary. But that's how life is.
I don't read reviews any more, but I'm told by my publisher who gives me an account of what people have been writing and it's been a very split kind of response.
Artists are the people for whom the world is not enough.