The New York Trilogy

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A detective (particularly in the police force) is a vital part of a legal process that aims to successfully prosecute the perpetrator of a crime. Thus, they must be concerned with the collection of facts that can be used to prove guilt. Paradoxically, fiction is a work of the imagination that does its best to appear real. It strives for verisimilitude and credibility:

This book is a particular kind of great. It's unique in my view, but that's not saying much because my basis for comparison is rather small, so let me elaborate. To explore the themes, Yanagihara uses four different chacracters, all recent graduates of a prestigious college in New England who move to New York to—what else?—chase their dreams in law, acting, art and architecture. The lawyer, Jude, becomes the undisputed protagonist whom readers want to look away from given his self-harming tendencies but can't. Strikingly, Auster, who almost always writes in the first person both in fiction and non-fiction, becomes in the story of his own life, "A". The distance created by slipping from first to third person reads like a quiet sigh of denial and loneliness, of someone who, he writes, was "living to the side of himself". PA: The fact is that I don’t even know if I think The New York Trilogy is very good. To me, it seems rather crude. I think I’ve become a better writer. These are youthful texts that mark the end of a certain phase of my life.

Success!

E un roman artificios, în linia povestirilor lui Henry James. Un personaj pornește în căutarea altuia, al doilea se ascunde atît de bine încît nu poate fi găsit, fiindcă nu vrea decît să-l chinuie pe primul (e un pervers, așadar). Amîndoi sînt excesiv de nervoși. Primul face o obsesie, cade în alcoolism și erotomanie, ajunge în preajma nebuniei și doar un noroc îl ferește de disoluția nervilor. Dar, în realitate, se poate presupune că personajul cu adevărat nebun și cu psihicul în descompunere e al doilea. Nu știm foarte sigur (și nci nu ne-ar folosi la nimic) dacă primul nu e cumva al doilea și nici dacă al doilea nu e cumva primul. Și nu e deloc limpede nici dacă nu cumva întreaga anchetă se petrece doar în mintea unuia dintre cei doi, nu știm care, dar asta nu mai contează. Precum scrie în acest pasaj: When Hawaiiannovelist Hanya Yanagihara released A Little Life in 2015, the world noticed—and everyone seems to still be talking about it. Despite, or perhaps because of his rather unliterary upbringing - his mother had "no particular interest in writing" and his father, who died before Paul achieved critical success, was bemused by how he had "produced a poet for a son" - Auster has a very traditional view of the role of the author, almost self-consciously so. In Hand to Mouth he writes, "Becoming a writer... [you] don't choose it so much as get chosen." Lauterbach agrees: "Ever since I've known him, Paul has wanted to be a writer with a capital W." Sophie had originally lived in my apartment, but moved to a larger one, when it became available, which left a vacancy that I agreed to fill.

The next Friday, when it was still light, I was surprised to see Sophie Fanshawe visit the man, who by now I inferred was a writer, despite how little writing he seemed to be doing, even compared with the amount entailed in the reports I had committed to. Aside from Hustvedt, autobiographical echoes resound through Auster's fiction. His conversation is punctuated with "and you know that scene in such-a-such book? Well, that happened to me!" and "remember that time in that chapter? That's a true story!" He fled to New York to study at Columbia in 1965, but the sense of isolation went with him. As he had done at home, he hid by "reading like a demon. Really, I think every idea I have came to me in those years. I don't think I've had a new idea since I was 20." Our second reading should be more critical than the first reading we constructed; to be good postmodernists, we should `deconstruct' the text to observe and critically evaluate such things as cultural and social biases and underlying philosophic assumptions. And such a second reading should not only be applied to works of literature but to all our encounters with facets of contemporary mass-duplicated society.Gaaaah. Upon finishing the piece of smirkingly self-referential garbage that was "City of Glass", I wanted to jump in a showever and scrub away the stinking detritus of your self-congratulatory, hypercerebral, pomo, what a clever-boy-am-I, pseudo-intellectual rubbish from my mind. But not all the perfumes of Araby would be sufficient - they don't make brain bleach strong enough to cleanse the mind of your particular kind of preening, navel-gazing idiocy. It seems like most successful books about New Yorkchronicle stories that involve the publishing industry. Listen carefully, and perhaps you will learn something. In his little speech to Alice, Humpty Dumpty sketches the future of human hopes and gives the clue to our salvation: to become masters of the words we speak, to make language answer our needs. Humpty Dumpty was a prophet, a man who spoke truths the world was not ready for. Nu mai trebuie să spun că am găsit digresiunile eseistice mult mai interesante decît acțiunea „polițistă”. Astfel, o ipoteză cu privire la adevăratul autor al romanului Don Quijote puteți citi la pp.104-105. PA: I have a feeling that, as the years go by and as French theory diminishes in importance, people will stop reading my books in that way. At least I hope they will.