Oracle night: A Novel 7 editions. He begins to write again, after downloading a blue portugese notebook. The words flow, but at some point, strange things begin to happen: his beloved wife behaves strangely, fiction and reality get mixed up, and what about this strange stationary shop. Oracle Night. Home · Oracle Night Author: Paul Auster. 29 downloads Views Oracle Essentials: Oracle Database 10g. Read more · Oracle Essentials: . Oracle Night: A Bakhtinian Reading of. Paul Auster's Metafictional Narrative. Sigrid Renaux. Centro Universitário Campos de Andrade. When one is dealing with.
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READING GROUP. GUIDE. Oracle Night by Paul Auster. ISBN: About this Guide. Several months into his recovery from a near-fatal illness. The novel, Oracle Night (),1 can function for us as a much-needed rallying point for Auster's surreptitious and devastatingly incoherent induction as to. PIA MASIERO MARCOLIN. Notes on/in Paul Auster's Oracle Night. Encountering a footnote is like going downstairs to answer the doorbell while making love.
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Receive exclusive offers and updates from Oxford Academic. Related articles in Web of Science Google Scholar. Citing articles via Web of Science 1. Randomness stalks us every day of our lives, and those lives can be taken from us at any moment - for no reason at all.
There might be no God watching over us. But certain events are so extraordinary - so fated - that the word miraculous seems apt to describe them. From his own life Auster cites the example of Mr Sugar no metaphorical invention but his real name , a photographer friend who turned up out of nowhere when Auster was down and out and close to starvation in rural France.
In effect, Sugar saved his life: "It was a miracle Until that moment, I had thought those things happened only in books.
The starting point for Oracle Night is a blue notebook, discovered at a stationery shop in Brooklyn in Stitched, clothbound and Portuguese in origin, the notebook is bought by the writer Sidney Orr, who has just come out of hospital after a near-fatal illness and who hopes the new notebook will get him writing again.
And so it does. When his friend John Trause, also a writer, mentions an episode in Dashiel Hammett's The Maltese Falcon, about a man called Flitcraft who disappears from his own life, Orr sits down with his notebook to flesh out the story.
In his version, Flitcraft becomes a New York editor named Nick Bowen, who is walking down the street one day when a limestone gargoyle crashes to earth, missing his head by inches. Shaken by this brush with death, Bowen flies to Kansas City, leaving behind a good job and loving partner, to make a new life.
By inventing an escape for Bowen, Orr escapes, too - from depression, writer's block and quotidian reality. In fact, he loses himself so spectacularly - the words flowing effortlessly on to the page - that his wife, Grace, swears she can't see him when he's supposed to be writing.
If that's not spooky enough, he then spots a blue notebook just like his own at Trause's flat. Since a central absence shadows and directs Auster's novels, they tend to follow a narrative pattern of quest or detection in which the questing figure- generally the narrator or his surrogate-seeks the missing person, either literally or in the figurative terrain of knowledge and understanding.
Consider, for example, from early in his career, Auster's search for the story of his father in the memoir The Invention of Solitude , the diegetic "Paul Auster" [End Page 66] attempting to comprehend Quinn's obsessive pursuit of Peter Stillman, Sr.
In subsequent novels, the pattern is visible in Peter Aaron's goal to reconstruct the story of his enigmatic friend Benjamin Sachs in Leviathan , David Zimmer's scholarly pursuit of the vanished silent film star Hector Mann in The Book of Illusions , and even Sidney Orr's desperate attempt to seek out and heal his fractured subjectivity in Oracle Night In each case, the narrator's desire to erase an absence aims toward uncovering secrets-and the fact of narration both testifies to and enables the quest.
Each quest stands for the narrator's confrontation with trauma. The inconclusiveness of each suggests that loss is largely irremediable, the primary object of desire not just inaccessible, but at times unrepresentable. Nevertheless, despite the intuition of existential absence evident in The New York Trilogy, Auster demonstrates a surprising, if modest, optimism.