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Invisible - Part I (June 2014)
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"Wary as I might have been, I was also fascinated by this peculiar, unreadable person, and the fact that he seemed genuinely glad to have stumbled into me stoked the fires of my vanity —that invisible cauldron of self-regard and ambition that simmers and burns in each one of us. Whatever reservations I had about him, whatever doubts I harbored about his dubious character, I couldn’t stop myself from wanting him to like me, to think that I was something more than a run-of-the-mill American undergraduate, to see the promise I hoped I had in me but which I doubted nine out of every ten minutes of my waking life."
Auster, Paul (2009-10-23). Invisible (Kindle Locations 211-216). Henry Holt and Co.. Kindle Edition.
This paragraph reminded me very much of a passage from the The Great Gatsby by F. Scott Fitzgerald, the paragraph describing Gatsby's smile:
He smiled understandingly–much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced–or seemed to face–the whole external world for an instant, and then concentrated on you with an irresistable prejudice in your favor. It understood you just so far as you wanted to be understood, believed in you as you would like to believe in yourself and assured you that it had precisely the impression of you that, at your best, you hoped to convey.
-F. Scott Fitzgerald, The Great Gatsby
The two passages are like opposite sides of a coin.
At first, I was incredulous. I can give license for the main plot point (giving a 20-year-old $25k to start a magazine), but then the incredible details just kept piling up, especially the idea that Adam could throw together such a complete plan for a magazine. After all, he called himself a "know-nothing" and a wannabe poet. I'm on the second part now. No doubt I will revisit this idea in the future.
That said, I did like the style. For such a seemingly straight forward, linear story of such a short period, it really drew me in.
Also, I noted what appears to be one of those literary games that make reading so much fun. The first thing we learn about Born is about his name, and we also get the legacy of Walker right up front.
We only learn his last name by Adam's association of it to Dante. Only afterwards do we find out he is Rudolph. Then there is the exchange on page 10 about the origins of Walker.
"What a country, Born said. Illiterate officials robbing a man of his identity with a simple stroke of the pen.
"Not his identity, I said. Just his name."
Struck me as a little ironic. Also I noted that Margot's name was just thrown in as an aside, in parentheses no less. I don't remember if her last name was even mentioned.
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I strongly suspect that Margot was intentionally named as a reference to Margaret (aka Gretchen) from Faust. Born, with his sartorial European sophistication, underlying darkness, and offers of unbelievable opportunity seems to be an obvious Mephistopheles to Walker's Faust.
Mephistopheles also arranged for Faust's seduction of Gretchen in order to cause her ruination and to bring Faust further under his influence.
I agree very much about the style. I wanted to like Walker, and I fond myself racing through the book.Some great catches there in terms of literary references. Faust seems very strong, and sheds light on things especially in terms of how he is drawn in. The two passages you mention, Casceil, are a great find. Very similar.
The one Walker and the style reminded me of was Charles Ryder in Brideshead Revisited. Now, I must admit to being a philistine here and only having watched the TV version, not read the book. But I found myself imagining Walker as Ryder (as played by Jeremy Irons), and imagining his voice speaking the narrative. There is an element there two, of his innocence and naivete, and being drawn into something darker and more involved, plans being hatched for him, and poor decisions, especially around women and a single male friend who is not reliable (although much more malevolent in this case).
Whitney wrote: "Steve wrote: "Struck me as a little ironic. Also I noted that Margot's name was just thrown in as an aside, in parentheses no less. I don't remember if her last name was even mentioned..."I stron..."
Great reference. I never would have seen the Faust parallels, but after reading your post I think you are definitely on to something.
Mod
This is my first Paul Auster book. I will tell you it sucked me right in. I like that the writing is straight forward, but you can tell there is something that is going to go wrong, but it hasn't presented itself yet. There is an air to the story that makes you feel the uneasiness. I am loving it.
I like the Faust parallel too. My thought when originally reading this section was Born was some sort of con man, and he was setting up Walker up as the fall guy in sort of scheme. Steve, we never did find out if Walker's plan was actually any good -- it could have been (and likely was) full of bad assumptions and amateur mistakes.
The uneasiness I found palpable too. It infected me even between times reading the book.
Auster creates the suspense in many ways, but the first person narrative makes the impact of Born all the more real. I've read Auster before (and not enjoyed his work), but I liked this immediately. Whilst I appreciate that Walker felt "crushed, humiliated, numb" I was mildly surprised that he considers "Born had defeated me." Walker didn't strike me as someone who was particularly interested in power struggles.
Did Born know that the impact on Walker being shown "something about myself that filled me with revulsion" would be this profound? Did he also know that Walker would eventually go to the police and thus he made his escape in good time? Born's insights are chilling, to say the least.
I'm looking forward to the rest of this book. It's compulsive reading.
I'm enjoying this so far and think that Whitney is spot on with the Faust references.I think that Walker is also a pretty unreliable narrator. We're seeing events from his perspective, but have to remember that we're looking through a character who is constantly trying to portray himself as more mature and worldly than he actually is (the agonising over whether to bring flowers or wine to dinner for example), and who is trying to position himself as essentially a professional fabulist. The whole section is full of stories people tell to each other and to themselves. It ends with Walker being fairly certain that his story was believed by the police, but should we as readers be so convinced?
Oh, yes, is he a reliable narrator? And I like your observation that the "whole section is full of stories people tell to each other and to themselves,"Another thought: what would have happened if the youth hadn't appeared and if the stabbing hadn't occurred? Or was that bound to happen?
I think that someone who is not interested in power struggles can still get caught up in one and feel defeated. Born seems to me the type of person you could easily be drawn in by; he presents not only himself but the world as a certain way. I can imagine myself having to say 'let it go' to avoid being sucked into a struggle to prove him wrong, to beat him, to show the world is not as he lives it, that people -- myself included -- are not who he believes them to be.The conversations and poetry about war seem to reflect on this, to me. He is baiting, to be sure, but it's hard not to credit some of his views there as truly held, in light of his actions.
Terry wrote: "The conversations and poetry about war seem to reflect on this, to me. He is baiting, to be sure, but it's hard not to credit some of his views there as truly held, in light of his actions."Quite.
Since this is the second year in a row that I have been reading Commedia (two Goodreads discussions), on encountering Auster's Born, I found I needed to go look more closely once again at Canto 28. The following are a few excerpts and a bit of commentary that may be of interest here:Selected passages and notes for Inferno, Canto 28, from the John Ciardi translation.
“and since I parted those who should be one
in duty and in love, I bear my brain
divided from it source within this trunk;
and walk here where my evil turns to pain,
an eye for an eye to all eternity:
thus is the law of Hell observed in me.”
“The Poets come to the edge of the NINTH BOLGIA and look down at a parade of hideously mutilated souls. These are the SOWERS OF DISCORD, and just as their sin was to rend asunder what God had meant to be united, so are they hacked and torn through all eternity by a great demon with a bloody sword. After each mutilation the souls are compelled to drag their broken bodies around the pit and to return to the demon, for in the course of the circuit their wounds knit in time to be inflicted anew. This is the law of retribution observed, each sinner suffering according to his degree.
“Among them Dante distinguishes three classes with varying degrees of guilt….
“Last of all is BERTRAND DE BORN, SOWER OF DISCORD BETWEEN KINSMEN. He separated father from son, and for that offense carries his head separated from his body, holding it with one hand by the hair, and swinging it as if it were a lantern to light his dark and endless way. The image of Bertrand raising his head at arm’s length in order that it might speak more clearly to the Poets on the ridge is one of the most memorable in the Inferno. For some reason that cannot be ascertained, Dante makes these sinners quite eager to be remembered in the world, despite the fact that many who lie above them in Hell were unwilling to be recognized.”
The following is the larger excerpt on Bertrand deBorn, from the Hollander translation: (view spoiler)
Two images from Gustave Doré of de Born:(view spoiler)
I find the second one perhaps more applicable here, although the first is better known.
Terry wrote: "How did the style impact you? We are thrust straight into the minutiae and flow of Walker's life. How did you find this? ..."This is the second Auster book I've read, and I see a pattern of really liking his style. I like that we get thrust straight into the action. I like that conversations aren't relayed as a conversation, but are set in the narrative (in other words, there are no quotation marks. I like that I have to work a little to follow which part is narrative and which part is conversation). I like that we learn characters' names and other traits through their conversations. I like that there isn't an overabundance of flowery language and descriptions (which is not to say that I dislike that from other writers; I just like--and can appreciate--that the more straightforward approach is Auster's style. It makes the presentation/story unique to him).
I read The New York Trilogy a few years ago and really liked it. So far, I really like Invisible as well, so it looks like I have a new author to follow :)
As for Margot's and Born's intentions... Dang, there's some crazy stuff going on there.< manly/villain voice>: "She and I are together, but you want to sleep with her. Don't you want to sleep with her? You should sleep with her. I want you to sleep with her. Hey! You slept with her! I'm upset! She's a tramp! I've sent her away! And now I'm engaged! ... Before I even knew she slept with you."< /manly/villain voice>
< wispy, feminine voice>:"I'm with him, but we're not *together*. I like you. I like him. He's done with me. Now I must leave."< /wispy/feminine voice>
It's one crazy soap opera! Kind of everything about Born is crazy: the money, the magazine idea, the incident on the street, the fleeing... Crazy!
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Casceil wrote: "Tiffany, I love your capsule summaries, and you have also summed up many things I noticed about Auster's style but would have had trouble describing myself. I look forward to hearing what you thin..."Aw, thanks! And here I was debating hitting the "post" button because I kept thinking to myself, "Those 21st Century Literature group people are smart. They're going to think I'm a complete fool!" :)
I am late when most of the readers already are discussing parts III and IV :-( As Sophia and Michael mentioned, we are dealing with likable narrator but how reliable is he? Born is too macabre, too sinister, too aggressive, a shark-like character who seems to have whims and money and sets traps for young intelligent students.
If we trust Adam, and I want to trust him because his humanity, hesitations, trepidations, suspicions are so human and relatable, then we are talking about a certain Mephistopheles who tempts young and naive Walker, and the tool is as old as mountains - gold.
I also find elements of the Biblical allusion here with Adam as a main character in Part I and Margot serving the apple tart as a dessert. Granted, it is definitely a twisted and warped allusion to the Biblical story, but I still feel it is palpable in the novel.
The style is tricky: sometimes it is deliberately simple but the role division is a blur (who is saying what), and that gives more dynamic to the story; on the other hand, there are some meditative and contemplating passages in Part I. So far, it is compellingly readable.
Zulfiya wrote: "...Margot serving the apple tart as a dessert...."Missed that! Thank you, Zulfiya. Auster seems to love such allusions -- and leave the reader wondering whether to take them as straight-forward, ironic, twisted, or even humorous.
Tiffany, I've had the same path through Auster as you and after Invisible, I next read 'The Book of Illusions' and very much enjoyed it.Your observations are very well-put. And Zufilya, yes, about the Apple Tart.
I was finally able to start reading this book. I finished Part I late last night and told myself no more until I read the comments here and added my own. But, I found myself with some unexpected time this morning and could not resist reading Part II.I really like the style. I like shorter sentences that are not overloaded with adverbs and adjectives. I found Part I engrossing. Like Steve, I found it hard to believe that Born would make such an offer and mean it. I was as incredulous as Walker -- just too good to be true. The whole part had a sense of impending doom.
Born and Margot are strange characters indeed. I don't have much to say about Margot - she remains an enigma. Born is not someone I would want to do business with -- I would question his motives and want someone to take my back in dealings with him. My impression of Born is mercurical, controlling, devious, and perhaps a evil.
Is Walker a reliable narrator? He doesn't purport to be, as he is constantly qualifying what he remembers, which makes me trust that he is telling me what he thinks remembers. However, there is a twinge of doubt.
21st Century Literature
Books mentioned in this topic
The Secret History (other topics)The Great Gatsby (other topics)
Authors mentioned in this topic
Donna Tartt (other topics)F. Scott Fitzgerald (other topics)
How did the style impact you? We are thrust straight into the minutiae and flow of Walker's life. How did you find this?
What are your thoughts about Born and Margot's intentions when they meet Walker? How does Auster create suspense in this?