For reasons that have never really been clear to me, Paul Auster seems to be Europe's favorite contemporary American writer. Perhaps it's down to his heavy-lidded, writerly good looks, or because his last name means 'oyster' in German, or because his novelist wife speaks Norwegian. At any rate, his books are immediately translated all major European languages an many minor ones, and he is feted over here. Over at the New Yorker, critic James Wood wonders why:
A protagonist, nearly always male, often a writer or an intellectual, lives monkishly, coddling a loss—a deceased or divorced wife, dead children, a missing brother. Violent accidents perforate the narratives, both as a means of insisting on the contingency of existence and as a means of keeping the reader reading—a woman drawn and quartered in a German concentration camp, a man beheaded in Iraq, a woman severely beaten by a man with whom she is about to have sex, a boy kept in a darkened room for nine years and periodically beaten, a woman accidentally shot in the eye, and so on. The narratives conduct themselves like realistic stories, except for a slight lack of conviction and a general B-movie atmosphere. People say things like “You’re one tough cookie, kid,” or “My pussy’s not for sale,” or “It’s an old story, pal. You let your dick do your thinking for you, and that’s what happens.” A visiting text—Chateaubriand, Rousseau, Hawthorne, Poe, Beckett—is elegantly slid into the host book. There are doubles, alter egos, doppelgängers, and appearances by a character named Paul Auster. At the end of the story, the hints that have been scattered like mouse droppings lead us to the postmodern hole in the book where the rodent got in: the revelation that some or all of what we have been reading has probably been imagined by the protagonist.
Although there are things to admire in Auster’s fiction, the prose is never one of them…. When he thinks about actual America, however, his language stiffens into boilerplate. Recalling the Newark riots of 1968, he describes a member of the New Jersey State Police, “a certain Colonel Brand or Brandt, a man of around forty with a razor-sharp crew cut, a square, clenched jaw, and the hard eyes of a marine about to embark on a commando mission.”
The pleasing, slightly facile books come out almost every year, as tidy and punctual as postage stamps, and the applauding reviewers line up like eager stamp collectors to get the latest issue. Peter Aaron, the narrator of “Leviathan,” whose prose is so pressureless, claims that “I have always been a plodder, a person who anguishes and struggles over each sentence, and even on my best days I do no more than inch along, crawling on my belly like a man lost in the desert. The smallest word is surrounded by acres of silence for me.” Not enough silence, alas.