Bibliographie
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ALFORD Steven E., “Spaced-out: Signification and Space in Paul Auster’s The New York Trilogy”, Contemporary Literature 36, winter (1995): 613-632.
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AUSTER Paul, The New York Trilogy (1987), New York: Penguin Books, 1990.
AUSTER Paul, Oracle Night, London: Faber, 2004.
AUSTER Paul, 4 3 2 1, New York: Henry Holt, 2017.
AUSTER Paul and I. B. Siegumfeldt, A Life in Words, New York and Oakland: Seven Stories Press, 2017.
BARONE Dennis, “Introduction: Paul Auster and the Postmodern American Novel”, in Beyond the Red Notebook: Essays on Paul Auster, Ed. Dennis Barone, Philadelphia: U of Pennsylvania P, 1995, 88-106.
BORGES Jorge Luis, “The Garden of Forking Paths”, Trans. Andrew Hurley, in Fictions (1941), London: Penguin Books, 1998, 75-86.
DE CERTEAU Michel, The Practice of Everyday Life (1984), Trans. Steven Rendall, Berkeley, Los Angeles, London: U of California P, 1988.
DECHÊNE Antoine, “‘Anywhere out of this World:’ Cognition, Perversion and Arbitrariness in Paul Auster’s Metaphysical Detective Stories” in Time, Narrative, and Imagination: Essays on Paul Auster, ed. Arkadiusz Misztal, Gdańsk: U of Gdańsk, 2015, 19-43.
DECHÊNE Antoine, Detective Fiction and the Problem of Knowledge: Perspectives on the Metacognitive Mystery Tale, Basingstoke and New York: Palgrave MacMillan, 2018.
DUPERRAY Annick, Paul Auster: les ambiguïtés de la négation, Paris: Belin, 2003.
ECKHARD Petra, Chronotopes of the Uncanny: Time and Space in Postmodern New York Novels, Paul Auster’s “City of Glass” and Toni Morrisson’s “Jazz”, New Brunswick, London: Transaction Publishers, 2011. Print. (transcript) Lettre.
GENETTE Gérard, Narrative Discourse: An Essay in Method (1972), Trans. Jane E. Lewin and Jonathan Culler, Ithaca and New York: Cornell UP, 1980.
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HAMMETT Dashiell, The Maltese Falcon (1929), New York: Vintage Crime/Black Lizard, 1992.
HAMMETT Dashiell, Le Faucon maltais (1930), in Dashiell Hammett Romans, Trans. Pierre Bondil and Natalie Beunat, Paris: Gallimard, 2009.
HAWTHORNE Nathaniel, “Wakefield” (1835), Twice-Told Tales (1837), vol. IX, The Centenary Edition of the Works of Nathaniel Hawthorne, Columbus: Ohio State UP, 1974, 130-140.
HERMAN David, Story Logic: Problems and Possibilities of Narrative, Lincoln and London: U of Nebraska P, 2002.
HERMAN David, Basic Elements of Narrative, Malden: Wiley-Blackwell, 2009.
HOFSTADTER Douglas, Gödel, Escher, Bach: An Eternal Golden Braid, New York: Penguin Books, 1979.
JOHANNESSEN Christian M. and Theo VAN LEEUWEN, “Introduction”, in The Materiality of Writing: A Trace-Making Perspective, Eds. Christian Mosbæk Johannessen and Theo Van Leeuwen, New York: Routledge, 2018, 1-11.
KUGLER Mathias, Paul Auster’s The New York Trilogy as Postmodern Detective Fiction, Hamburg: Diplomarbeiten Agentur, 1999.
MANIEZ Claire, “Suspendu entre passé et avenir: Oracle Night de Paul Auster”, Revue française d’études américaines 3.121 (2009): 61-71.
McHALE Brian, Postmodernist Fiction, New York/London: Methuen, 1987.
MERIVALE Patricia, “Gumshoe Gothics: Poe’s ‘The Man of the Crowd’ and His Followers”, in Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism, Eds. Patricia Merivale and Susan E. Sweeney, Philadelphia: U of Pennsylvania P, 1999, 101-116.
MERIVALE Patricia and Susan Elizabeth SWEENEY, “The Game’s Afoot: On the Trail of the Metaphysical Detective Story”, in Detecting Texts: The Metaphysical Detective Story From Poe to Postmodernism, Eds. Patricia Merivale and Susan E. Sweeney. Philadelphia: U of Pennsylvania P, 1999. 1-24.
MISZTAL Arkadiusz, “Time, Body, and Imagination in Paul Auster’s Oracle Night”, in Time, Narrative, and Imagination: Essays on Paul Auster, Ed. Arkadiusz Misztal, Gdańsk: U of Gdańsk, 2015, 247-269.
NEALON Jeffrey T, “Work of the Detective, Work of the Writer: Auster’s City of Glass”, in Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism, Eds. Patricia Merivale and Susan E. Sweeney, Philadelphia: U of Pennsylvania P, 1999.
PATTESON Richard F., “The Teller’s Tale: Text and Paratext in Paul Auster’s Oracle Night”, Critique: Studies in Contemporary Fiction 49.2 (2008): 115-130.
PAVEL Thomas G., Fictional Worlds, Cambridge and London: Harvard UP, 1986.
PIER John, “Metalepsis”, in The Living Handbook of Narratology, Ed. Peter Hühn, et al., Hamburg: Hamburg U, 2016, <https://www.lhn.uni-hamburg.de/node/51.html>, accessed on February 12, 2019.
POE Edgar Allan, “The Man of the Crowd” (1840), in The Complete Tales and Poems of Edgar Allan Poe (1840), New York: Vintage Books, 1975, 475-481.
ROSS Jeffrey, “Where Flitcraft Lives: An Examination of Chance, Choice and Fate in Paul Auster’s Fiction”, Collection: Theses and Dissertations, Ottawa: Carleton U, 2005.
RUSSELL Alison, “Deconstructing The New York Trilogy: Paul Auster’s Anti-Detective Fiction”, Critique 31.2 (1990): 71-84.
RYAN Marie-Laure, Avatars of Story, Minneapolis: U of Minnesota P, 2006.
RYAN Marie-Laure, “Fictional Worlds in the Digital Age”, in A Companion to Digital Literary Studies, Ed. Ray Siemens and Susan Schreibman, Chichester: Wiley-Blackwell, 2013, 250-265.
RYAN Marie-Laure, “Impossible Worlds and Aesthetic Illusion”, in Aesthetic Illusion in Literature and Other Media, Eds. Walter Bernhard and Werner Wolf, Amsterdam/New York: Rodopi, 2013, 131-148.
RYAN Marie-Laure, “Story/Worlds/Media: Turning the Instruments of Media-Conscious Narratology”, in Storyworlds across Media, Ed. Marie-Laure Ryan and Jan-Noël Thon, Linclon/London: U of Nebraska P, 2014, 25-49.
RYAN Marie-Laure, “Texts, Worlds, Stories: Narrative Worlds as Cognitive and Ontological Concept”, in Narrative Theory, Literature, and New Media: Narrative Minds and Virtual Worlds, Eds. Mari Hatavera, et al., London: Routledge, 2015, 13-28.
SAINT-GELAIS Richard, Fictions Transfuges: La transfictionnalité et ses enjeux, Paris: Seuil, 2005.
SHILOH Ilana, Paul Auster and Postmodern Quest: On the Road to Nowhere, New York: Peter Lang, 2002.
SHILOH Ilana, The Double, the Labyrinth and the Locked Room: Metaphors of Paradox in Crime Fiction and Film, New York: Peter Lang, 2011.
SWEENEY Susan E., “‘Subject-Cases’ and ‘Book-Cases’: Imposters and Forgeries from Poe to Auster”, in Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism, Eds. Patricia Merivale and Susan E. Sweeney, Philadelphia: U of Pennsylvania P, 1999, 247-269.
SWEENEY Susan E., “Traces gothiques dans le roman policier métaphysique: la limière dans Vente à la criée du lot 49 de Pynchon et Identification des schémas de Gibson”, in Le Thriller métaphysique d’Edgar Allan Poe à nos jours, Eds. Antoine Dechêne and Michel Delville, Liège: PU de Liège, 2016, 91-106.
SWOPE Richard, “Approaching the Threshold(s) in Postmodern Detective Fiction: Hawthorne’s ‘Wakefield’ and Other Missing Persons”, Critique 39.3 (1998): 207-227.
SWOPE Richard, “Supposing a Space: The Detecting Subject in Paul Auster’s City of Glass”, Reconstruction: Studies in Contemporary Culture (2002): 1-17.
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Notes
Richard Saint-Gelais, Fictions Transfuges: La transfictionnalité et ses enjeux, Paris: Seuil, 2005, 19-20. Saint-Gelais defines the concept as “the phenomenon by which at least two texts, by the same author or not, jointly relate to a same fiction, be it by taking over characters, extending a prior plot or sharing a fictional universe” (translated by Pier n.p.). In French: “Par ‘transfictionnalité,’ j’entends le phénomène par lequel au moins deux textes, du même auteur ou non, se rapportent conjointement à une même fiction, que ce soit par reprise de personnages, prolongement d’une intrigue préalable ou partage d’univers fictionnel.” Ibid., 7.
Marie-Laure Ryan, “Fictional Worlds in the Digital Age”, in A Companion to Digital Literary Studies, ed. Ray Siemens and Susan Schreibman, Chichester: Wiley-Blackwell, 2013, 257.
See for instance Alford, Barone, Dechêne, Duperray, Eckhard, Kugler, Russell, Shiloh, Sweeney, and Swope among many others.
Jeffrey Ross, “Where Flitcraft Lives: An Examination of Chance, Choice and Fate in Paul Auster’s Fiction”, Collection: Theses and Dissertations, Ottawa: Carleton U, 2005, 11.
Antoine Dechêne, Detective Fiction and the Problem of Knowledge: Perspectives on the Metacognitive Mystery Tale, Basingstoke and New York: Palgrave MacMillan, 2018, 38.
Ibid.
Ibid., 327-337. See also Merivale and Sweeney’s introductory chapter to Detecting Texts (in Patricia Merivale and Susan E. Sweeney (eds), Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism, Philadelphia: U of Pennsylvania P, 1999).
Dashiell Hammett, The Maltese Falcon (1929), New York: Vintage Crime/Black Lizard, 1992, 64.
Paul Auster, Oracle Night, London: Faber, 2004, 12.
Ibid., 188, 154.
Patricia Merivale, “Gumshoe Gothics: Poe’s ‘The Man of the Crowd’ and His Followers”, in Patricia Merivale and Susan Elizabeth Sweeney (eds.), Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism, op. cit., 107.
Marie-Laure Ryan, “Fictional Worlds in the Digital Age”, op. cit., 211.
Ibid., 210.
Gérard Genette, Narrative Discourse: An Essay in Method (1972), trans. Jane E. Lewin and Jonathan Culler, Ithaca and New York: Cornell UP, 1980, 235.
John Pier, “Metalepsis”, in The Living Handbook of Narratology, ed. Peter Hühn, et al., Hamburg: Hamburg U, 2016. <https://www.lhn.uni-hamburg.de/node/51.html>, accessed on February 17, 2020.
Paul Auster, Oracle Night, op. cit., 2.
Edgar Allan Poe, “The Man of the Crowd” (1840), in The Complete Tales and Poems of Edgar Allan Poe (1840), New York: Vintage Books, 1975, 481.
Michel De Certeau, The Practice of Everyday Life (1984), trans. Steven Rendall, Berkeley, Los Angeles, London: U of California P, 1988.
Paul Auster, Oracle Night, op. cit., 1.
Ibid., 35.
Ibid., 26.
Nathaniel Hawthorne, “Wakefield” (1835), Twice-Told Tales (1837), vol. IX, The Centenary Edition of the Works of Nathaniel Hawthorne, Columbus: Ohio State UP, 1974, 140.
I borrow the phrase from a very recent collective volume which discusses, from a multidisciplinary perspective, “the profound impact graphic traces have on large-scale human cultural patterns as well as on individual-scale cognition” (Christian M. Johannessen and Theo Van Leeuwen, “Introduction”, in Christian M. Johannessen and Theo Van Leeuwen (eds.), The Materiality of Writing: A Trace-Making Perspective, New York: Routledge, 2018, 2).
Paul Auster, Oracle Night, op. cit., 4.
Ibid., 189.
Paul Auster, The New York Trilogy (1987), New York: Penguin Books, 1990, 124.
Paul Auster, Oracle Night, op. cit., 188.
Ibid., 39.
Ibid., 189.
Richard F. Patteson, “The Teller’s Tale: Text and Paratext in Paul Auster’s Oracle Night”, Critique: Studies in Contemporary Fiction 49.2 (2008), 117.
Ibid.
Paul Auster, Oracle Night, op. cit., 22.
Paul Auster and I. B. Siegumfeldt, A Life in Words, New York and Oakland: Seven Stories Press, 2017, 221.
Paul Auster, Oracle Night, op. cit., 76.
Ibid., 78.
Marie-Laure Ryan, Avatars of Story, Minneapolis: U of Minnesota P, 2006, 205.
H. Porter Abbott, The Cambridge Introduction to Narrative (Second ed.), Cambridge: Cambridge UP, 2008, 242.
Marie-Laure Ryan, “Texts, Worlds, Stories: Narrative Worlds as Cognitive and Ontological Concept”, in Narrative Theory, Literature, and New Media: Narrative Minds and Virtual Worlds, eds. Mari Hatavera, et al., London: Routledge, 2015, 13.
David Herman, Story Logic: Problems and Possibilities of Narrative, Lincoln and London: U of Nebraska P, 2002, 5.
Ibid., 9.
Marie-Laure Ryan, “Story/Worlds/Media: Turning the Instruments of Media-Conscious Narratology”, in Storyworlds across Media, Ed. Marie-Laure Ryan and Jan-Noël Thon, Linclon/London: U of Nebraska P, 2014, 33.
David Herman, Story Logic, op. cit., 14.
David Herman, Basic Elements of Narrative, Malden: Wiley-Blackwell, 2009, 2.
Jorge Luis Borges, “The Garden of Forking Paths”, trans. Andrew Hurley, in Fictions (1941), London: Penguin Books, 1998, 85.
Paul Auster, 4 3 2 1, New York: Henry Holt, 2017, 54.
Ibid.
Paul Auster, Oracle Night, op. cit., 160.
Genette interestingly notes that “The most troubling thing about metalepsis indeed lies in the unacceptable and insistent hypothesis, that the extradiegetic is perhaps always diegetic, and that the narrator and his narrates – you and I – perhaps belong to some narrative.” Gérard Genette, Narrative Discourse, op. cit., 236.
For an engaging analysis of the figure of the reader as detective see Jeffrey T Nealon, “Work of the Detective, Work of the Writer: Auster’s City of Glass” (in Patricia Merivale and Susan E. Sweeney (eds), Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism, Philadelphia: U of Pennsylvania P, 1999). Of course, metacognitive mystery tales subvert the readers’ expectations by refusing to indulge in narrative closure.
Marie-Laure Ryan, Avatars of Story, op. cit., 206.
Yet, by staunching a gap with one narrative, an author is always creating new gaps to fill in, new questions to answer.
Brian McHale, Postmodernist Fiction, New York/London: Methuen, 1987, 119-130.
Marie-Laure Ryan, Avatars of Story, op. cit., 207.
Douglas Hofstadter, Gödel, Escher, Bach: An Eternal Golden Braid, New York: Penguin Books, 1979, 686.
See Thomas G. Pavel, Fictional Worlds, Cambridge and London: Harvard UP, 1986.
Marie-Laure Ryan, “Impossible Worlds and Aesthetic Illusion”, in Walter Bernhard and Werner Wolf (eds.) , Aesthetic Illusion in Literature and Other Media, Amsterdam/New York: Rodopi, 2013, 131-148. To be precise, Ryan distinguishes two types of approaches to possible worlds, the analytic and the cognitive: “The possible worlds of analytic philosophy are used in literature to solve such problems as the definition of fiction, the truth value of statements about fictional entities, the ontological status (complete or incomplete?) of these entities, the semantic classification of literary worlds (historical, realistic, fantastic, impossible), the relationships between the worlds of distinct texts (expansion, transposition, modification), the description of the mechanisms of plots in terms of conflicts, and the general organization of the semantic domain of texts as a universe in which an actual world is opposed to a variable number of alternate possible worlds created by the mental activity of characters. As for the worlds of cognitive approaches, they focus the attention of scholars on how they are constructed and ‘simulated’ in the mind of the reader, on what kind of cues trigger this process of simulation, or on his description of the narrative experience as one of immersion.” Story/Worlds/Media”, op. cit., 31-32.
Jan Alber, “Impossible Storyworlds—and What to Do with Them”, Storyworlds: A Journal of Narrative Studies 1 (2009), 82. Alber defines physically and/or logically impossible scenarios and events as “unnatural”.
Ibid., 82.
Paul Auster, Oracle Night, op. cit., 115.
The Freudian slip further hints at a possible reading of Sid’s narrative as a detective story.
Paul Auster, Oracle Night, op. cit., 104.
Marie-Laure Ryan, Avatars of Story, op. cit., 209.
Paul Auster, Oracle Night, op. cit., 52.
Ibid., 113.
Ibid., 150.
Susan Elizabeth Sweeney acknowledges and tries to counterbalance this gap in her analysis of Pynchon’s The Crying of Lot 49 (1966) and Gibson’s Pattern Recognition (2003). See Susan E. Sweeney, “Traces gothiques dans le roman policier métaphysique: la limière dans Vente à la criée du lot 49 de Pynchon et Identification des schémas de Gibson”, in Antoine Dechêne and Michel Delville (eds.), Le Thriller métaphysique d’Edgar Allan Poe à nos jours, Liège: PU de Liège, 2016, 91-106.
Paul Auster, Oracle Night, op. cit., 151.
Ibid., 155.
Ibid., 203.
Auster has confirmed that the Warsaw phonebook, like most of the other reality-inspired stories in the novel, is in fact real. It was given to him by his Polish publisher and he randomly picked up a name for his protagonist in it. Paul Auster and I. B. Siegumfeldt, A Life in Words, op. cit., 218. As for its “physical” inclusion in the book, Ryan has shown, following Barthes, that a photograph makes “a determinate and almost irrefutable truth claim”. Marie-Laure Ryan, Avatars of Story, op. cit., 38. As it were, the scanned image of the phonebook does not only open a “window on the world,” but opens a breach between usually well separated diegetic worlds. In a different but related way, Saint-Gelais notes that transfictionality “exacerbates the referential illusion.” Richard Saint-Gelais, Fictions Transfuges: La transfictionnalité et ses enjeux, op. cit., 14 (my translation).
Arkadiusz Misztal, “Time, Body, and Imagination in Paul Auster’s Oracle Night”, in Time, Narrative, and Imagination: Essays on Paul Auster, Ed. Arkadiusz Misztal, Gdańsk: U of Gdańsk, 2015, 251.
Claire Maniez, “Suspendu entre passé et avenir: Oracle Night de Paul Auster”, Revue française d’études américaines 3.121 (2009), 62.
Footnote 1, for instance, enables the narrator to introduce his name; footnote 2 presents John Trause; footnote 3 tells Sid and Grace’s love story; footnote 4 gives the first hint of a possible past liaison between John and Grace; footnote 8 is Sid’s confession that he owns a copy of the 1937/38 directory; in footnote 10, Sid metafictionally reflects on Grace’s dream and the impossibility of his narrative; footnote 11 gives Mr. Chang’s story; etc.
Richard F. Patteson, “The Teller’s Tale: Text and Paratext in Paul Auster’s Oracle Night”, op. cit., 118.
The story is also based on a real newspaper article Auster read and slightly modified (Paul Auster and I. B. Siegumfeldt, A Life in Words, op. cit., 218).
Paul Auster, Oracle Night, op. cit., 98.
Ibid., 99.
Ibid., 99.
Of course, Jacob the junkie himself incarnates the fall of the “Hebrew patriarch.”
Ibid., 169.
Ibid., 205.
Ibid., 207.
Ibid., 35.
Nathaniel Hawthorne, “Wakefield”, op. cit., 140.
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