This book offers a different, original approach to the work of Paul
Auster, one of America's best-known contemporary authors. With a
special focus on his films and collaborative projects, it explores
the entangled relationships between his texts by reading them in
largely posthumanist terms as a rhizomatic facto-fictional network
produced by a set of writing tools. The book is a bold scholarly
quest to follow the work of these few recurrent things in Auster's
texts, which together assemble his emblematic writer-figure - the
smoking, typewriting New York writer. This character, that
resembles the empirical author himself, is what seems to work as
both Auster's writing machine and the text being written. This
book, then, is also an exploration of various writing tools
(cigarettes, typewriters, doppelgangers, cityscapes) used by the
writer, and the ways their metaphoric potencies work to produce
texts and meanings. Taking the work of Auster as an illustrative
case, this is, in a broader sense, a book about assembling texts
and textual networks, the writing machines that produce them, and
the ways that such machines invest them with meaning.This work is
not only of critical investigation, but also of critical
collaboration, as in the final chapter its author ends up tracing
the pathways that Auster's characters mark in the spaces of New
York, and confronts Paul Auster himself with a doubled version of
him produced by this book.This raises not only questions about the
ultimate meaning of Auster's work, but also, more generally, about
the relationship between texts, their authors, their readers and
their interpretive critics
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