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The red notebook : and other writings

Por: Tipo de material: TextoTextoDetalles de publicación: Londres : Faber and Faber , 1996Descripción: 175 pISBN:
  • 978-0-571-22641-2
Tema(s): Resumen: The arresting stories in this slim collection by Auster (The New York Trilogy, etc.) go a long way toward answering the perennial question "Why write?" The book contains four short narratives: "The Red Notebook," "It Don't Mean a Thing," "Accident Report" and "Why Write?" All the tales and vignettes, hovering somewhere between fact and fiction, feature amazing little coincidences or linkages. In one brief chapter, Auster (as protagonist) loses a dime in a gutter in Brooklyn only to look down and find a dime later the same day. In another, he checks into a hotel room in an obscure hotel in Paris and finds a crumpled message from the desk to a close friend-the previous occupant of the room. The most affecting stories, however, recount a more ineffable sense of connection: Auster makes it to the foot of a staircase to catch his little daughter just in time to keep her from sailing through a window; as a boy at summer camp, he is on a group hike when the boy next to him is struck by lightning and killed. What all the stories have in common is not a fixed outcome or meaning but a sense of the patterned meaningfulness of life. Readers will glimpse here how the act of witnessing itself provides the punch line.
Lista(s) en las que aparece este ítem: Paul Auster
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The arresting stories in this slim collection by Auster (The New York Trilogy, etc.) go a long way toward answering the perennial question "Why write?" The book contains four short narratives: "The Red Notebook," "It Don't Mean a Thing," "Accident Report" and "Why Write?" All the tales and vignettes, hovering somewhere between fact and fiction, feature amazing little coincidences or linkages. In one brief chapter, Auster (as protagonist) loses a dime in a gutter in Brooklyn only to look down and find a dime later the same day. In another, he checks into a hotel room in an obscure hotel in Paris and finds a crumpled message from the desk to a close friend-the previous occupant of the room. The most affecting stories, however, recount a more ineffable sense of connection: Auster makes it to the foot of a staircase to catch his little daughter just in time to keep her from sailing through a window; as a boy at summer camp, he is on a group hike when the boy next to him is struck by lightning and killed. What all the stories have in common is not a fixed outcome or meaning but a sense of the patterned meaningfulness of life. Readers will glimpse here how the act of witnessing itself provides the punch line.

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