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The book of illusions [text (large print)] / Paul Auster.

By: Auster, Paul, 1947-.
Material type: materialTypeLabelBookPublisher: Waterville, Me. : Bath, England : Thorndike Press ; Chivers Press, 2003Description: 488 pages ; 22 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 0786248688; 0571212182(tradepbk).Subject(s): Widowers -- Fiction | Missing persons -- Fiction | General fictionDDC classification:
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Enhanced descriptions from Syndetics:

In this rich and emotionally charged work, a man's obsession with a silent film star sends him on a journey into a shadowy world of lies, illusions, and unexpected love.

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Excerpt provided by Syndetics

EVERYONE THOUGHT HE was dead. When my book about his films was published in 1988, Hector Mann had not been heard from in almost sixty years. Except for a handful of historians and old-time movie buffs, few people seemed to know that he had ever existed. Double or Nothing , the last of the twelve two-reel comedies he made at the end of the silent era, was released on November 23, 1928. Two months later, without saying good-bye to any of his friends or associates, without leaving behind a letter or informing anyone of his plans, he walked out of his rented house on North Orange Drive and was never seen again. His blue DeSoto was parked in the garage; the lease on the property was good for another three months; the rent had been paid in full. There was food in the kitchen, whiskey in the liquor cabinet, and not a single article of Hector's clothing was missing from the bedroom drawers. According to the Los Angeles Herald Express of January 18, 1929, it looked as though he had stepped out for a short walk and would be returning at any moment . But he didn't return, and from that point on it was as if Hector Mann had vanished from the face of the earth. For several years following his disappearance, various stories and rumors circulated about what had happened to him, but none of these conjectures ever amounted to anything. The most plausible ones-that he had committed suicide or fallen victim to foul play-could neither be proved nor disproved, since no body was ever recovered. Other accounts of Hector's fate were more imaginative, more hopeful, more in keeping with the romantic implications of such a case. In one, he had returned to his native Argentina and was now the owner of a small provincial circus. In another, he had joined the Communist Party and was working under an assumed name as an organizer among the dairy workers in Utica, New York. In still another, he was riding the rails as a Depression hobo. If Hector had been a bigger star, the stories no doubt would have persisted. He would have lived on in the things that were said about him, gradually turning into one of those symbolic figures who inhabit the nether zones of collective memory, a representative of youth and hope and the devilish twists of fortune. But none of that happened, for the fact was that Hector was only just beginning to make his mark in Hollywood when his career ended. He had come too late to exploit his talents fully, and he hadn't stayed long enough to leave a lasting impression of who he was or what he could do. A few more years went by, and little by little people stopped thinking about him. By 1932 or 1933, Hector belonged to an extinct universe, and if there were any traces of him left, it was only as a footnote in some obscure book that no one bothered to read anymore. The movies talked now, and the flickering dumb shows of the past were forgotten. No more clowns, no more pantomimists, no more pretty flapper girls dancing to the beat of unheard orchestras. They had been dead for just a few years, but already they felt prehistoric, like creatures who had roamed the earth when men still lived in caves. I didn't give much information about Hector's life in my book. The Silent World of Hector Mann was a study of his films, not a biography, and whatever small facts I threw in about his offscreen activities came directly from the standard sources: film encyclopedias, memoirs, histories of early Hollywood. I wrote the book because I wanted to share my enthusiasm for Hector's work. The story of his life was secondary to me, and rather than speculate on what might or might not have happened to him, I stuck to a close reading of the films themselves. Given that he was born in 1900, and given that he had not been seen since 1929, it never would have occurred to me to suggest that Hector Mann was still alive. Dead men don't crawl out from their graves, and as far as I was concerned, only a dead man could have kept himself hidden for that long. The book was published by the University of Pennsylvania Press eleven years ago this past March. Three months later, just after the first reviews had started to appear in the film quarterlies and academic journals, a letter turned up in my mailbox. The envelope was larger and squarer than the ones commonly sold in stores, and because it was made of thick, expensive paper, my initial response was to think there might be a wedding invitation or a birth announcement inside. My name and address were written out across the front in an elegant, curling script. If the writing wasn't that of a professional calligrapher, it no doubt came from someone who believed in the virtues of graceful penmanship, a person who had been schooled in the old academies of etiquette and social decorum. The stamp was postmarked Albuquerque, New Mexico, but the return address on the back flap showed that the letter had been written somewhere else-assuming that there was such a place, and assuming that the name of the town was real. Top and bottom, the two lines read: Blue Stone Ranch; Tierra del Sueño, New Mexico. I might have smiled when I saw those words, but I can't remember now. No name was given, and as I opened the envelope to read the message on the card inside, I caught a faint smell of perfume, the subtlest hint of lavender essence. Dear Professor Zimmer , the note said. Hector has read your book and would like to meet you. Are you interested in paying us a visit? Yours sincerely, Frieda Spelling (Mrs. Hector Mann). I read it six or seven times. Then I put it down, walked to the other end of the room, and came back. When I picked up the letter again, I wasn't sure if the words would still be there. Or, if they were there, if they would still be the same words. I read it six or seven more times, and then, still not sure of anything, dismissed it as a prank. A moment later, I was filled with doubts, and the next moment after that I began to doubt those doubts. To think one thought meant thinking the opposite thought, and no sooner did that second thought destroy the first thought than a third thought rose up to destroy the second. Not knowing what else to do, I got into my car and drove to the post office. Every address in America was listed in the zip code directory, and if Tierra del Sueño wasn't there, I could throw away the card and forget all about it. But it was there. I found it in volume one on page 1933, sitting on the line between Tierra Amarilla and Tijeras, a proper town with a post office and its own five-digit number. That didn't make the letter genuine, of course, but at least it gave it an air of credibility, and by the time I returned home, I knew that I would have to answer it. A letter like that can't be ignored. Once you've read it, you know that if you don't take the trouble to sit down and write back, you'll go on thinking about it for the rest of your life. I haven't kept a copy of my answer, but I remember that I wrote it by hand and tried to make it as short as possible, limiting what I said to just a few sentences. Without giving it much thought, I found myself adopting the flat, cryptic style of the letter I had received. I felt less exposed that way, less likely to be taken as a fool by the person who had masterminded the prank-if indeed it was a prank. Give or take a word or two, my response went something like this: Dear Frieda Spelling. Of course I would like to meet Hector Mann. But how can I be sure he's alive? To the best of my knowledge, he hasn't been seen in more than half a century. Please provide details. Respectfully yours, David Zimmer . We all want to believe in impossible things, I suppose, to persuade ourselves that miracles can happen. Considering that I was the author of the only book ever written on Hector Mann, it probably made sense that someone would think I'd jump at the chance to believe he was still alive. But I wasn't in the mood to jump. Or at least I didn't think I was. My book had been born out of a great sorrow, and now that the book was behind me, the sorrow was still there. Writing about comedy had been no more than a pretext, an odd form of medicine that I had swallowed every day for over a year on the off chance that it would dull the pain inside me. To some extent, it did. But Frieda Spelling (or whoever was posing as Frieda Spelling) couldn't have known that. She couldn't have known that on June 7, 1985, just one week short of my tenth wedding anniversary, my wife and two sons had been killed in a plane crash. She might have seen that the book was dedicated to them (For Helen, Todd, and Marco-In Memory) , but those names couldn't have meant anything to her, and even if she had guessed their importance to the author, she couldn't have known that for him those names stood for everything that had any meaning in life-and that when the thirty-six-year-old Helen and the seven-year-old Todd and the four-year-old Marco had died, most of him had died along with them. They had been on their way to Milwaukee to visit Helen's parents. I had stayed behind in Vermont to correct papers and hand in the final grades for the semester that had just ended. That was my work-professor of comparative literature at Hampton College in Hampton, Vermont-and I had to do it. Normally, we all would have gone together on the twenty-fourth or twenty-fifth, but Helen's father had just been operated on for a tumor in his leg, and the family consensus was that she and the boys should leave as quickly as possible. This entailed some elaborate, last-minute negotiations with Todd's school so that he would be allowed to miss the last two weeks of the second grade. The principal was reluctant but understanding, and in the end she gave in. That was one of the things I kept thinking about after the crash. If only she had turned us down, then Todd would have been forced to stay at home with me, and he wouldn't have been dead. At least one of them would have been spared that way. At least one of them wouldn't have fallen seven miles through the sky, and I wouldn't have been left alone in a house that was supposed to have four people in it. There were other things, of course, other contingencies to brood about and torture myself with, and I never seemed to tire of walking down those same dead-end roads. Everything was part of it, every link in the chain of cause and effect was an essential piece of the horror-from the cancer in my father-in-law's leg to the weather in the Midwest that week to the telephone number of the travel agent who had booked the airline tickets. Worst of all, there was my own insistence on driving them down to Boston so they could be on a direct flight. I hadn't wanted them to leave from Burlington. That would have meant going to New York on an eighteen-seat prop plane to catch a connecting flight to Milwaukee, and I told Helen that I didn't like those small planes. They were too dangerous, I said, and I couldn't stand the idea of letting her and the boys go on one of them without me. So they didn't-in order to appease my worries. They went on a bigger one, and the terrible thing about it was that I rushed to get them there. The traffic was heavy that morning, and when we finally got to Springfield and hit the Mass Pike, I had to drive well over the speed limit to make it to Logan in time. I remember very little of what happened to me that summer. For several months, I lived in a blur of alcoholic grief and self-pity, rarely stirring from the house, rarely bothering to eat or shave or change my clothes. Most of my colleagues were gone until the middle of August, and therefore I didn't have to put up with many visits, to sit through the agonizing protocols of communal mourning. They meant well, of course, and whenever any of my friends came around, I always invited them in, but their tearful embraces and long, embarrassed silences didn't help. It was better to be left alone, I found, better to gut out the days in the darkness of my own head. When I wasn't drunk or sprawled out on the living room sofa watching television, I spent my time wandering around the house. I would visit the boys' rooms and sit down on the floor, surrounding myself with their things. I wasn't able to think about them directly or summon them up in any conscious way, but as I put together their puzzles and played with their Lego pieces, building ever more complex and baroque structures, I felt that I was temporarily inhabiting them again-carrying on their little phantom lives for them by repeating the gestures they had made when they still had bodies. I read through Todd's fairy-tale books and organized his baseball cards. I classified Marco's stuffed animals according to species, color, and size, changing the system every time I entered the room. Hours vanished in this way, whole days melted into oblivion, and when I couldn't stomach it anymore, I would go back into the living room and pour myself another drink. On those rare nights when I didn't pass out on the sofa, I usually slept in Todd's bed. In my own bed, I always dreamed that Helen was with me, and every time I reached out to take hold of her, I would wake up with a sudden, violent lurch, my hands trembling and my lungs gasping for air, feeling as if I'd been about to drown. I couldn't go into our bedroom after dark, but I spent a lot of time there during the day, standing inside Helen's closet and touching her clothes, rearranging her jackets and sweaters, lifting her dresses off their hangers and spreading them out on the floor. Once, I put one of them on, and another time I got into her underwear and made up my face with her makeup. It was a deeply satisfying experience, but after some additional experimentation, I discovered that perfume was even more effective than lipstick and mascara. It seemed to bring her back more vividly, to evoke her presence for longer periods of time. As luck would have it, I had given her a fresh supply of Chanel No. 5 for her birthday in March. By limiting myself to small doses twice a day, I was able to make the bottle last until the end of the summer. Continue... Excerpted from THE BOOK OF ILLUSIONS by PAUL AUSTER Copyright © 2002 by Paul Auster Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Reviews provided by Syndetics

Library Journal Review

The theme of Auster's tenth novel is best summed up in the epigraph: "As Chateaubriand once stated, `[Man] has many lives, placed end to end, and that is the cause of his misery.' " This "book of illusions" shows how those many inner lives intertwine and diverge, setting off an array of possibilities. At the outset, David Zimmer, a Vermont professor of comparative literature, grieves over his wife and two sons, who perished in an airplane crash. His life changes when he stumbles upon a clip from a silent film by comedian Hector Mann, who mysteriously vanished 60 years ago. Zimmer immerses himself in researching Mann's work and soon publishes an authoritative study. His life changes again when he unexpectedly receives a letter from Mann's wife inviting him to visit her ill but still-living husband. Thus begins another quest, this time to unravel the mystery behind Mann's disappearance at the height of his success. Much of Auster's work has already probed the unpredictability of faith, and his fans are also familiar with heroes trapped in the "labyrinth of memories" and the story-within-the-story writing technique. But Auster never repeats himself, instead attacking familiar territory from a new angle to craft tales of profound dimension. Essential. [Previewed in Prepub Alert, LJ 5/15/02.] Mirela Roncevic, "Library Journal" (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

David Zimmer, an English professor in Vermont, is trying to rebuild his life-after his family perishes in an airplane crash-by researching the work of Hector Mann, a minor figure from the era of silent movies, in this enigmatic, elliptical 10th novel, one of Auster's best. As in much of the writer's fiction, the narrative revolves around coincidence, fate and odd resonances. Mann's world, like Zimmer's, collapses in a single instant, and Mann, like Zimmer, embarks on self-imposed exile as a way to deal with his grief and do penance. Mann disappeared at the height of his career in 1929, but when Zimmer's book about him is published in the 1980s, it elicits a mysterious invitation: would Zimmer like to meet Mann, who is alive and has been working in secret as actor/director Hector Spelling? The skeptical scholar is lured from Vermont by Alma Grund, who grew up around Mann and is writing his biography. As Grund and Zimmer fall in love, she fills in the decades-long gap in Mann's life-a strange American odyssey that culminated on a ranch in New Mexico where he made movies he refused to screen for anyone. As in previous novels, Auster here makes the unbelievable completely credible, and his overall themes are very much of a piece with those of earlier works: the "mutinous unpredictability of matter" and the way storytellers shape and organize unpredictability. A darker and more somber mood shadows this book; Mann and Zimmer both are tragic figures-even melodramatic-and their stories are compelling. Auster is a novelist of ideas who hasn't forgotten that his first duty is to tell a good story. (Sept.) Forecast: Auster devotees will fall upon his latest with glee, recognizing it as a worthy successor to his classic New York Trilogy. The novel should do very well in the short run-it is a BOMC and QPB selection, and foreign rights have been sold in 16 countries-but its true success may be as a staple of Auster's backlist. Author tour. (c) Copyright PWxyz, LLC. All rights reserved

Booklist Review

Auster's signature fascination with the capriciousness of fate and adept use of the classic story-within-the-story motif are writ larger than ever in his brilliant, sage, and suspenseful tenth novel. Here, too, is Auster's passion for film (he has three to his credit), the soulfulness of Timbuktu (1999) and I Thought My Father Was God [BKL S 15 01] (a remarkable collection of evocative real-life stories), and an entwining of the strange and the erotic, not unlike Howard Norman's Haunting of L [BKL F 15 02]. It all begins when a Vermont English professor, paralyzed with grief over the loss of his wife and young sons in a plane crash, sees a clip of silent film star and director Hector Mann's witty shtick on television and laughs for the first time in months. David embarks on an intense study of Mann's nearly forgotten work, an arduous quest given the fact that Mann disappeared at the peak of his powers, then ends up embroiled in Mann's complicated and tragic secret life after a woman with a prominent birthmark and a gun takes him to New Mexico. Auster limns Mann's many-layered cinematic and earthly worlds in mesmerizing and voluptuous detail within an artful, poignantly metaphysical, and delectably Hitchcockian tale of mayhem, murder, and myriad illusions within illusions. Donna Seaman

Kirkus Book Review

Auster's tenth novel is one of his finest: an elegant meditation on the question of whether an artist or his public "owns" the work he creates, and a thickly plotted succession of interlocking mysteries reminiscent of his highly praised New York Trilogy (The Locked Room, 1986, etc.). Narrator David Zimmer is a professor of comparative literature at a small Vermont college with an impressive resume and a promising academic future, until his wife and young sons perish in a 1985 plane crash. Following an extended period of drunken despair (eloquently and harrowingly described), Zimmer indulges a casual interest in obscure silent film comedian hector Mann, whose disappearance in 1929 has never been explained. David researches and writes a book about Mann's films (occasioning several brilliant set pieces summarizing their contents), and in 1988 receives a letter from New Mexico informing him that Hector Mann is still alive, and is interested in meeting David. The novel picks up dizzying speed as that letter (ostensibly sent by Mann's protective wife Frieda Spelling) is followed by the appearance of Alma Grund (a beautiful young woman despite a disfiguring facial birthmark), who brings David to the (now nonagenarian) Mann's southwestern ranch, spins a lavish tale of scandal and self-exile that fills in a 60-year gap, and compulsively recapitulates the former comedian's various fateful ordeals, leaving Zimmer once again bereaved and alone. The heavy excess of plot never feels arbitrary or contrived, because Auster (Timbuktu, 1999, etc.) writes with such persuasive directness about both Zimmer's conflicted death-in-life and efforts to get beyond it, and Mann's understandably buried past and quiet desperation to order and give meaning to-and eventually extinguish-his accident-strewn personal history. Further dimensions are added by Zimmer's ironically thematically related intellectual pursuits, particularly his fascination with French writer Chateaubriand's elusive, many-leveled autobiography. In many ways, a summa of Auster's entire oeuvre, and a gripping and immensely satisfying novel in its own right. Author tour