Bibliographie
AGAMBEN Giorgio, Remnants of Auschwitz. The Witness & the Archive, trans. Daniel Heller-Roazen, Brooklyn, NY: Zone Books, 2002.
AMFREVILLE Marc, Écrits en souffrance. Figures du trauma dans la littérature nord-américaine, Paris : Michel Houdiard, 2009.
AUSTER Paul, Unearth, Weston, CT: Living Hand (#3), 1974.
AUSTER Paul, White Spaces, Barrytown, NY: Station Hill, 1980.
AUSTER Paul, The New York Trilogy (City of Glass, Ghosts, The Locked Room), London: Faber, 1987.
AUSTER Paul, In the Country of Last Things, New York: Viking, 1987.
AUSTER Paul, The Invention of Solitude [1982], London: Faber, 1988.
AUSTER Paul, “Book of the Dead (II)”, in Ground Work: Selected Poems and Essays 1970-1979, London: Faber, 1990.
AUSTER Paul, The Red Notebook (True Stories, Prefaces and Interviews), London: Faber, 1995.
AUSTER Paul, “Random Notes — September 11, 2001, 4 PM”, commissioned by Die Zeit, first published September 13, 2001 (in Collected Prose, New York: Picador/Henry Holt, 2003, 505-506).
AUSTER Paul, “Underground”, The New York Times Magazine, October 2001 (in Collected Prose, New York: Picador/Henry Holt, 2003, 507).
AUSTER Paul, “Authors Paul Auster and Salman Rushdie Reflect on September 11,” in All Things Considered, Natl. Public Radio, November 8, 2002.
AUSTER Paul, “The Art of Worry”, catalogue preface for Art Spiegelman exhibition, Brescia, Italy: Nuage Gallery, 2003 (Collected Prose, New York: Picador/Henry Holt, 2003, 458-463).
AUSTER Paul, Collected Prose, New York: Picador/Henry Holt, 2003.
AUSTER Paul, Oracle Night, New York: Henry Holt, 2003.
AUSTER Paul, Collected Poems, London: Faber, 2004.
AUSTER Paul, The Brooklyn Follies, London: Faber, 2005.
AUSTER Paul, Manhattan, Ground Zero: A Sonic Memorial Sound Walk, New York: Soundwalk, 2005.
AUSTER Paul, Travels in the Scriptorium, London: Faber, 2006.
AUSTER Paul, Man in the Dark, London: Faber, 2008.
AUSTER Paul, Sunset Park, New York: Henry Holt, 2010.
AUSTER Paul, Winter Journal, New York: Henry Holt, 2012.
AUSTER Paul, 4 3 2 1, New York: Henry Holt, 2017.
BAER Ulrich (ed.), 101 Stories: New York Writes After September 11, New York: New York UP, 2002.
BLANCHOT Maurice, The Writing of the Disaster, trans. Ann Smock, U of Nebraska P, 1986.
CARUTH Cathy, Trauma: Explorations in Memory, Baltimore and London: The Johns Hopkins UP, 1995.
CARUTH Cathy, Unclaimed Experience: Trauma, Narrative, and History, Baltimore and London: The Johns Hopkins UP, 1996.
COHEN Josh, “Desertions: Paul Auster, Edmond Jabès, and the Writing of Auschwitz”, The Journal Of The Midwest Modern Language Association, U of Iowa, vol. 33/34, vol. 33, n° 3 - vol. 34, n° 1, Autumn, 2000 - Winter, 2001, 94-107.
DeLILLO Don, Falling Man, New York: Picador, 2007.
DERRIDA Jacques, Schibboleth, pour Paul Celan, Paris : Galilée, 1986.
EISENSTEIN Sergei, Battleship Potemkin, Moscow: Mosfilm, 1925.
FITZGERALD F. Scott, The Great Gatsby (1926), London: Penguin Books, 2000.
FORTIN-TOURNES Anne-Laure, “Le récit intermédial comme dispositif traumatique dans The Rings of Saturn de W. G. Sebald”, Sillages critiques, 19 | 2015, <http://journals.openedition.org/sillagescritiques/4227>, accessed on February 11, 2020.
GLEJZER Richard, “Witnessing 9/11. Art Spiegelman and the Persistence of Trauma”, in Ann Keniston and Jeanne Follansbee Quinn (eds.), Literature after 9/11, New York, Routledge, 2008.
LEVI Primo, The Drowned and the Saved, New York, NY: Simon & Schuster, 1989.
MANIEZ Claire, “Suspendu entre passé et avenir : Oracle Night de Paul Auster”, Revue française d’études américaines, vol. 121, no 3, 2009: 61-71.
MORRISON Toni, “The Dead of September II”, Vanity Fair, September 13, 2001.
ROTHBERG Michael, “‘There is no Poetry in this’: Writing, Trauma, and Home”, in Judith Greenberg (ed.), Trauma at Home: After 9/11, Lincoln and London: U of Nebraska P, 2003, 147-157.
SIMONETTI Paolo, “Loss, Ruins, War: Paul Auster’s Response to 9/11 and the ‘War on Terror’”, in Stefania Ciocia and Jesús A. González (eds.), The Invention of Illusions, Newcastle: Cambridge SP, 2011, 13-37.
SPIEGELMAN Art, In the Shadow of No Towers, New York: Pantheon Books, Random House, 2004.
STEINBECK John, The Grapes of Wrath (1939), New York: Viking, 1997.
VERSLUYS Kristiaan, Out of the Blue: September 11 and the Novel, New York: Columbia UP, 2009.
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Notes
In the novel The Brooklyn Follies, no mention of 9/11 is made until the very end, when Nathan Glass gets out of the hospital and suddenly witnesses the attacks on the street.
Paul Auster, Winter Journal, New York: Henry Holt, 2012, 11.
Paul Auster, White Spaces, Barrytown, NY: Station Hill, 1980. See also Paul Auster, “White Spaces”, in Collected Poems, London: Faber, 2004, 153-162.
Kristiaan Versluys, Out of the Blue: September 11 and the Novel, New York: Columbia UP, 2009, 2.
Paul Auster, 4 3 2 1, New York: Henry Holt, 2017, 250-263.
Ibid., 263.
Ibid., 263.
Ibid., 263-268.
Ibid., 250.
Ibid., 263.
Ibid., 251.
Ibid., 255.
Ibid., 251.
Ibid., 252, emphasis mine.
Claire Maniez, “Suspendu entre passé et avenir : Oracle Night de Paul Auster”, Revue française d’études américaines, vol. 121, no 3, 2009, 71.
Paul Auster, 4 3 2 1, op. cit., 250.
Art Spiegelman, In the Shadow of No Towers, New York: Pantheon Books, Random House, 2004, 1.
“As he stood in Anne Frank’s room, the room in which the diary was written, […] he suddenly found himself crying. Not sobbing, as might happen in response to a deep inner pain, but crying without sound, the tears streaming down his cheeks, as if purely in response to the world. It was at that moment, he later realized, that the Book of Memory began”. Paul Auster, The Invention of Solitude [1982], London: Faber, 1988, 83.
Paul Auster, 4 3 2 1, op. cit., 551, 1.
Paul Auster, “White”, in Collected Poems, op. cit., 87.
Paul Auster, “S. A. 1911-1979”, in Collected Poems, op. cit., 144.
Paul Auster, “Fore-Shadows”, in Collected Poems, op. cit., 78.
Paul Auster, The Red Notebook (True Stories, Prefaces and Interviews), London: Faber, 1995, 104.
Manhattan, Ground Zero: A Sonic Memorial Sound Walk, New York: Soundwalk, 2005.
Paul Auster, “Random Notes — September 11, 2001, 4 PM”, commissioned by Die Zeit, first published September 13, 2001. See Paul Auster, Collected Prose, New York: Picador/Henry Holt, 2003, 505-506.
Ibid., 505, 506.
Paul Auster, “Random Notes — September 11, 2001, 4 PM” and “Underground”, in Ulrich Baer (ed.), 101 Stories: New York Writes After September 11, New York: New York UP, 2002, 34-36.
Paul Auster, Collected Prose, op. cit., 506, 507.
Paul Auster, “Underground”, The New York Times Magazine (October 2001), in Collected Prose, op. cit., 507.
Jacques Derrida, Schibboleth, pour Paul Celan, Paris : Galilée, 1986, 33-36.
Toni Morrison, “The Dead of September II”, Vanity Fair, September 13, 2001.
Paul Auster, “Authors Paul Auster and Salman Rushdie Reflect on September 11”, All Things Considered, Natl. Public Radio, 8 November 2002.
Paul Auster, “The Art of Worry” (catalogue preface for Art Spiegelman exhibition, Brescia, Italy: Nuage Gallery, 2003), in Collected Prose, op. cit., 462-463.
Paul Auster, The Invention of Solitude, op. cit., 98.
Paul Auster, “Book of the Dead (II)”, in Ground Work: Selected Poems and Essays 1970-1979, London: Faber, 1990, 202.
Primo Levi, The Drowned and the Saved, New York: Simon & Schuster, 1989. See also Giorgio Agamben, Remnants of Auschwitz. The Witness & the Archive, trans. Daniel Heller-Roazen, Brooklyn, NY: Zone Books, 2002.
Paul Auster, The Brooklyn Follies, London: Faber, 2005, 304.
“That’s what a holocaust is, great flames, burnt whole. So, I think the word was appropriate, not in the conventional sense of common usage but in the literal sense of the word, to emphasize how monumental it was. Of course, when we hear ‘holocaust’ now, we think of the Second World War. That was not my intention even though I knew the echo would be there in the word”. Paul Auster in conversation with I. B. Siegumfeldt and François Hugonnier, Brooklyn, NY, 14 Nov. 2019, transcript outtake.
Paul Auster, 4 3 2 1, op. cit., 453.
Anne-Laure Fortin-Tournès, “Le récit intermédial comme dispositif traumatique dans The Rings of Saturn de W. G. Sebald”, Sillages critiques, 19 | 2015, <http://journals.openedition.org/sillagescritiques/4227>, accessed on February 11, 2020.
See Cathy Caruth, Trauma: Explorations in Memory, Baltimore and London: The Johns Hopkins UP, 1995, and Unclaimed Experience: Trauma, Narrative, and History, Baltimore and London: The Johns Hopkins UP, 1996.
Paul Auster, Winter Journal, op. cit., 225-226.
Ibid., 227.
Ibid., 226.
Paul Auster, Oracle Night, New York: Henry Holt, 2003, 49.
Paul Auster, Sunset Park, New York: Henry Holt, 2010, 304.
Paul Auster, Winter Journal, op. cit., 226.
Paul Auster, Man in the Dark, London: Faber, 2008, 31.
Paul Auster, The Brooklyn Follies, op. cit., 303-304.
Don DeLillo, Falling Man, New York: Picador, 2007, 31.
Ibid., 102.
Michael Rothberg, “‘There is no Poetry in this’: Writing, Trauma, and Home”, in Judith Greenberg (ed.), Trauma at Home: After 9/11, Lincoln and London: U of Nebraska P, 2003, 149.
Richard Glejzer, “Witnessing 9/11. Art Spiegelman and the Persistence of Trauma”, in Ann Keniston and Jeanne Follansbee Quinn (eds.),Literature after 9/11, New York: Routledge, 2008, 99-102.
In trauma studies, the Freudian concept of belatedness (Nachträglichkeit) was notably used by Cathy Caruth in Trauma: Explorations in Memory (op. cit.) and Unclaimed Experience (op. cit.).
Paul Auster, Sunset Park, op. cit., 115-116.
Ibid., 116.
Ibid., 72.
John Steinbeck, The Grapes of Wrath (1939), New York: Viking, 1997, 117.
Paul Auster, Sunset Park, op. cit., 3.
Ibid., 125.
Paul Auster, Oracle Night, op. cit., 91.
Paul Auster, The Brooklyn Follies, op. cit., 102.
Ibid., 27.
For a study of Travels in the Scriptorium as a post-9/11 novel, see Paolo Simonetti, “Loss, Ruins, War: Paul Auster’s Response to 9/11 and the ‘War on Terror’”, in Stefania Ciocia and Jesús A. González (eds.), The Invention of Illusions, Newcastle: Cambridge SP, 2011, 13-37.
Paul Auster, Sunset Park, op. cit., 147.
See the collage of actual pages from the Warsaw phonebook given to Auster by his Hungarian editor in Oracle Night, op. cit., 113-114.
Paul Auster, 4 3 2 1, op. cit., 328.
Ibid., 328.
Paul Auster, Oracle Night, op. cit., 112.
Paul Auster, Sunset Park, op. cit., 143.
Jean Cournut qtd. by Marc Amfreville in Écrits en souffrance. Figures du trauma dans la littérature nord-américaine, Paris : Michel Houdiard, 2009, chapter 8, my translation.
Paul Auster, Man in the Dark, op. cit., 176.
Ibid., 175.
Josh Cohen, “Desertions: Paul Auster, Edmond Jabès, and the Writing of Auschwitz”, The Journal Of The Midwest Modern Language Association, U of Iowa, vol. 33/34, vol. 33, no 3 – vol. 34, no 1, Autumn, 2000 – Winter, 2001, 97.
Paul Auster, “The Art of Worry”, in Collected Prose, op. cit, 462.
Ibid., 463.
Charles Reznikoff actually read and studied Auster’s obscure poetry collection Unearth (1974). Conversely, Auster dedicated several essays to his work (see Collected Prose, op. cit., 373-388). His filiation is marked discretely in the incipit of 4 3 2 1 with Ichabod Ferguson’s original name “Reznikoff”. As for the character’s first name, it echoes Washington Irving’s well-known Ichabod Crane.
Paul Auster, The Brooklyn Follies, op. cit., 290.
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