Travels in the Scriptorium (eBook)

PAUL AUSTER (Autor)

eBook Download: EPUB

2010 | 1. Auflage
134 Seiten
Faber & Faber (Verlag)
978-0-571-26675-3 (ISBN)

Infos

An old man sits in a room, with a single door and window, a bed, a desk and a chair. Each day he awakes with no memory, unsure of whether or not he is locked into the room. Attached to the few objects around him are one-word, hand-written, labels and on the desk is a series of vaguely familiar black-and-white photgraphs and four piles of paper. Then a middle-aged woman called Anna enters and talks of pills and treatment, but also of love and promises. Who is this Mr Blank, and what is his fate? What does Anna represent from his past - and will he have enough time to ever make sense of the clues that arise? After the huge success of The Brooklyn Follies, Travels in the Scriptorium sees Auster return to more metaphysical territory. A dark puzzle, and a game that implicates both reader and writer alike, it is an ingenious exploration of language, responsibility and the passage of time.

Paul Auster was the bestselling author of 4 3 2 1, Sunset Park, The Book of Illusions, Moon Palace and The New York Trilogy. He and Spencer Ostrander collaborated on Bloodbath Nation. In 2006, he was awarded the Prince of Asturias Prize for Literature. His other honours include the Prix Medicis Étranger for Leviathan, the Independent Spirit Award for the Screenplay of Smoke, the Los Angeles Times Book Prize for Burning Boy, and the Carlos Fuentes Prize for his body of work. His novel 4 3 2 1 was shortlisted for the 2017 Man Booker Prize. He was a member of the American Academy of Arts and Letters, and was a Commandeur de l'Ordre des Arts et des Lettres. His work was translated into more than forty languages. His final novel, Baumgartner, was published in November 2023. He died on 30 April 2024.

Rezensionen

You have to hand it to Auster - he's still the most compelling fortune teller in the postmodernist carnival

Textauszug

It should be noted that in addition to the camera a microphone is embedded in one of the walls, and every sound Mr. Blank makes is being reproduced and preserved by a highly sensitive digital tape recorder. The least groan or sniffle, the least cough or fleeting flatulence that emerges from his body is therefore an integral part of our account as well. It goes without saying that this aural data also includes the words that are variously mumbled, uttered, or shouted by Mr. Blank, as with, for example, the telephone call from James P. Flood recorded above. The conversation ends with Mr. Blank reluctantly giving in to the ex-policeman’s demand to pay him a visit some time that morning. After Mr. Blank hangs up the phone, he sits down on the edge of the narrow bed, assuming a position identical to the one described in the first sentence of this report: palms spread out on his knees, head down, staring at the floor. He ponders whether he should stand up and begin looking for the closet Flood referred to, and if that closet exists, whether he should change out of his pajamas and put on some clothes, assuming there are clothes in the closet – if indeed that closet exists. But Mr. Blank is in no rush to engage in such mundane chores. He wants to go back to the typescript he started reading before he was interrupted by the telephone.He therefore stands up from the bed and takes a first tentative step toward the other side of the room, feeling a sudden rush of dizziness as he does so. He realizes that he will fall down if he remains standing any longer, but rather than return to the bed and sit there until the crisis passes, he puts his right hand against the wall, leans the full brunt of his weight against it, and gradually lowers himself to the floor. Now on his knees, Mr. Blank pitches himself forward and plants his palms on the floor as well. Dizzy or not, such is his determination to reach the desk that he crawls there on all fours.

Once he manages to climb into the leather chair, he rocks back and forth for several moments to steady his nerves. In spite of his physical efforts, he understands that he is afraid to go on reading the typescript. Why this fear should have taken hold of him is something he cannot account for. It’s only words, he tells himself, and since when have words had the power to frighten a man half to death? It won’t do, he mutters in a low, barely audible voice. Then, to reassure himself, he repeats the same sentence, shouting at the top of his lungs: IT WON’T DO!

Inexplicably, this sudden burst of sound gives him the courage to continue. He takes a deep breath, fixes his eyes on the words in front of him, and reads the following two paragraphs:

They have kept me in this room ever since. From all I can gather, it is not a typical cell, and it does not seem to be part of the military stockade or the territorial house of detention. It is a small, bare enclosure, measuring roughly twelve feet by fifteen feet, and because of the simplicity of its design (dirt floor, thick stone walls), I suspect that it once served as a storehouse for food supplies, perhaps for sacks of flour and grain. There is a single barred window at the top of the western wall, but it is too far off the ground for me to get my hands on it. I sleep on a straw mat in one corner, and two meals are given to me every day: cold porridge in the morning, tepid soup and hard bread in the evening. According to my calculations, I have been here for forty-seven nights. This tally could be wrong, however. My first days in the cell were interrupted by numerous beatings, and because I can’t remember how many times I lost consciousness – nor how long the oblivions lasted when I did – it is possible that I lost count somewhere and failed to notice when a particular sun might have risen or another might have set.

The desert begins just outside my window. Each time the wind blows from the west, I can smell the sage and juniper bushes, the minima of those dry distances. I lived out there on my own for close to four months, wandering freely from one place to another, sleeping outdoors in all kinds of weather, and to return from the openness of that country to the narrow confines of this room has not been easy for me. I can bear up to the enforced solitude, to the absence of conversation and human contact, but I long to be in the air and the light again, and I spend my days hungering for something to look at besides these jagged stone walls. Every now and then, soldiers walk below my window. I can hear their boots crunching on the ground, the irregular bursts of their voices, the clatter of carts and horses in the heat of the unattainable day. This is the garrison at Ultima: the westernmost tip of the Confederation, the place that stands at the edge of the known world. We are more than two thousand miles from the capital here, overlooking the unmapped expanses of the Alien Territories. The law says that no one is allowed to go out there. I went because I was ordered to go, and now I have returned to give my report. They will listen to me or they won’t listen to me, and then I will be taken outside and shot. I am fairly certain of that now. The important thing is not to delude myself, to resist the temptation of hope. When they finally put me up against the wall and aim their rifles at my body, the only thing I will ask of them is to remove the blindfold. It’s not that I have any interest in seeing the men who kill me, but I want to be able to look at the sky again. That is the extent of what I want now. To stand out in the open and look up at the immense blue sky above me, to gaze at the howling infinite one last time.

Mr. Blank stops reading. His fear has been replaced by confusion, and while he has grasped every word of the text so far, he has no idea what to make of it. Is it an actual report, he wonders, and what is this place called the Confederation, with its garrison at Ultima and its mysterious Alien Territories, and why does the prose sound like something written in the nineteenth century? Mr. Blank is well aware of the fact that his mind is not all it should be, that he is entirely in the dark about where he is and why he is there, but he is reasonably certain that the present moment can be situated sometime in the early twenty-first century and that he lives in a country called the United States of America. This last thought reminds him of the window, or, to be more precise, of the window shade, on which a strip of white tape has been attached bearing the word SHADE. With the soles of his feet pressing against the floor and his arms pressing against the armrests of the leather chair, he swivels right by ninety to a hundred degrees in order to have a look at said window shade – for not only is this chair endowed with the ability to rock back and forth, it can turn in circles as well. This last discovery is so pleasing to Mr. Blank that he momentarily forgets why he wanted to look at the window shade, exulting instead in this hitherto unknown property of the chair. He spins around once, then twice, then three times, and as he does so he remembers sitting in the chair at the barbershop as a young boy and being spun around in a similar fashion by Rocco the barber both before and after his hair was cut. Fortunately, when Mr. Blank comes to rest again, the chair is more or less in the same position as when he started going around in circles, which means that he is once again looking at the window shade, and again, after this enjoyable interlude, Mr. Blank wonders if he shouldn’t walk over to the window, pull up the shade, and have a look outside to see where he is. Perhaps he’s no longer in America, he says to himself, but in some other country, abducted in the dead of night by secret agents working for a foreign power.

His triple revolution in the chair has left him somewhat dizzy, however, and he hesitates to budge from his spot, fearing a recurrence of the episode that forced him to travel across the room on all fours some minutes ago. What Mr. Blank is still unaware of at this point is that, in addition to being able to rock back and forth and turn around in circles, the leather chair is further equipped with a set of four small wheels, which would make it possible for him to journey over to the window shade without having to stand up. Not knowing that other means of propulsion are available to him besides his legs, Mr. Blank therefore stays where he is, sitting in the chair with his back to the desk, looking at the once white but now yellowing window shade, trying to remember his conversation the previous afternoon with the ex-policeman James P. Flood. He casts about in his mind for an image, some hint as to what the man looks like, but rather than conjure forth any clear pictures, his mind is once again overwhelmed by a paralyzing sensation of guilt. Before this fresh bout of torments and terrors can build into a full-blown panic, however, Mr. Blank hears someone rapping on the door, and then the sound of a key entering the lock. Does this mean that Mr. Blank is imprisoned in the room, unable to leave except through the grace and good will of others? Not necessarily. It could be that Mr. Blank has locked the door from within and that the person now trying to enter the room must undo that lock in order to cross the threshold, thus sparing Mr. Blank the trouble of having to stand up and open the door himself.

One way or the other, the door now opens, and in walks a small woman of indeterminate age – anywhere between forty-five and sixty, Mr. Blank thinks, but it is difficult to be certain. Her gray hair is cut short, she is dressed in a pair of dark blue slacks and a light blue cotton blouse, and the first thing she does after entering the room is smile at Mr....

Produkt-Details

• Erscheint lt. Verlag: 25.11.2010
• Verlagsort: London
• Sprache: englisch
• Themenwelt: Literatur ► Romane / Erzählungen
• Themenwelt: Geisteswissenschaften ► Philosophie ► Erkenntnistheorie / Wissenschaftstheorie
• Themenwelt: Geisteswissenschaften ► Philosophie ► Sprachphilosophie
• Themenwelt: Geisteswissenschaften ► Psychologie ► Entwicklungspsychologie
• Themenwelt: Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Sprachwissenschaft
• Schlagworte: david mitchell ghostwritten • Don DeLillo • krapp's last tape • metafiction • Samuel Beckett • six characters in search of an author • the new york trilogy
• ISBN-10: 0-571-26675-4 / 0571266754
• ISBN-13: 978-0-571-26675-3 / 9780571266753