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Literature Criticism
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From: New Statesman and Society[(review date 22 March 1991) In the following review, Mannes-Abbott offers favorable assessment of The Music of Chance.] Paul Auster has produced some of the most remarkable fiction of the past decade in the New York...
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From: Critique[(essay date winter 2004) In the following essay, Oberman evaluates the existential dilemma of Auster's protagonist in The Music of Chance against the cultural and economic backdrop of late-capitalism.] I admire the...
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From: Critique[(essay date spring 1998) In the following essay, Segal analyzes Jacques Derrida's The Gift of Death to further explore the metafictional and metanarrative aspects of Auster's The Locked Room.] In The Gift of Death...
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From: Critique: Studies in Contemporary Fiction[(essay date Fall 1995) In the following essay, Alford examines the identity and function of the narrator in The New York Trilogy and the use of shifting perspectives to juxtapose contradictory aspects of self-identity,...
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From: The New York TimesThe quirky richness of Paul Auster's Locked Room took me by surprise. This is the final volume in his New York Trilogy, and the first two, City of Glass and Ghosts, left a sour, medicinal taste, as if I had swallowed...
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From: New Criterion[(review date April 1989) In the following excerpt, Bawer links Moon Palace to the novels that constitute The New York Trilogy in terms of Auster's overarching literary vision.] Moon Palace, a strange and arresting new...
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From: Review of Contemporary Fiction[(essay date Spring 1994) In the following essay, Lewis examines the narrative and thematic characteristics of Auster's "anti-detective" fiction and the elusive authorial presence of Auster.] The mystery is this: How...
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From: Book[(review date September/October 2002) In the following review, Evans admires Auster's passion for philosophical inquiry, language, and the narrative form in The Book of Illusions.] David Zimmer is shattered, on the eve...
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From: Critique: Studies in Contemporary Fiction[(essay date Summer 1991) In the following essay, Rowen examines Auster's detective-like investigations into the role of language as a medium of representation and the nature of reality in the modern world as portrayed...
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From:Contemporary Novelists (6th ed.)Paul Auster has frequently been called a "postmodern" novelist, partly because, one suspects, critics don't know what else to call a writer whose works include metaphysical detective stories, an anti-utopian fantasy, an...
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From: Neophilologus[(essay date October 1991) In the following essay, Wesseling explores the apocalyptic paradigm of In the Country of Last Things, crediting Auster with reshaping prophetic discourse by contradicting the progression of...
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From: The New Republic[(review date 27 March 1989) In the following review, Birkerts provides an overview of Auster's fiction and evaluation of Moon Palace, which he finds promising but ultimately disappointing.] Paul Auster has been, until...
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From: New Statesman[(review date 14 November 1997) In the following review, Mundy offers unfavorable assessment of Hand to Mouth.] "We're talking about your life," proclaims a character in Paul Auster's first novel, Squeeze Play....
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From: The New York Times Book ReviewIn Paul Auster's remarkable City of Glass, the ostensible mystery derives from the book's odd and often strangely humorous working of the detective novel genre. The real mystery, however, is one of confused character...
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From: The New York Times Book ReviewOne prepares, when picking up a novel that promises to be postapocalyptic, to change his critical kit bag. One prepares to find moral guidance and instructions for living in novels of the next world, in a way we've...
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From: Review of Contemporary Fiction[(essay date Spring 1994) In the following essay, Washburn examines the imagery, literary and historical allusions, and narrative design employed by Auster to portray the deterioration of civilization In the Country of...
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From: Critique[(essay date winter 2003) In the following essay, Briggs underlines the elusive nature of identity in The New York Trilogy and asserts the interconnectedness inherent in all of Auster's work.] It was a wrong number...
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From: Publishers Weekly[(review date 27 May 2002) In the following review, Zaleski admires Auster's depiction of life's purposeful and coincidental connections in the stories of The Red Notebook.] The arresting stories in this slim...
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From: Mosaic[(essay date September 2004) In the following essay, Golden explores intertextual connections between Auster and filmmaker Alfred Hitchcock within the framework of American postmodernism.] The year 1999 marked the one...
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From: Library Journal[(review date 1 September 2002) In the following review, the critic considers The Book of Illusions a showcase for Auster's unique talents.] Paul Auster's last two novels, Mr. Vertigo and Timbuktu, introduced admirers...