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Johnnie Gratton

de la Photographie in Paris. A boxed set of seven books representing the exhibited works, and bearing the same title, was published simultaneously by Actes-Sud.5 The exhibition was itself the fruit of a kind of meta-project inspired by the activities of Calle’s fictional double, Maria Turner, the eccentric character from Paul Auster’s novel, Leviathan (). Eight of the component works of the exhibition correspond, as Calle herself puts it, to rituals that Auster ‘borrowed’ from her to shape the character of Maria. Calle also used the exhibition as an opportunity

in Women’s writing in contemporary France
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Genre collisions and mutations
James Peacock

indulging in a postmodern ‘appropriation of popular genres’ by more ‘literary’ forms, he treats genres as serious literature in themselves (Hoborek, 2007 : 238). In truth, Lethem’s engagement with genre is much more serious than some other contemporary ‘postmodern’ writers, notably Paul Auster, who are also known for subverting genres. Auster is similarly self-conscious about his employment of genre

in Jonathan Lethem
As She Climbed Across the Table
James Peacock

. Lethem carefully constructs a series of worlds-within-worlds like a Russian doll: the world, the States, the campus, the physics lab, Lack, and the infinite worlds within. Such layering is reminiscent of much stereotypically postmodern practice in works by, for example, John Barth and Paul Auster, and the fact that Lethem has it all collapse into nothingness implies his suspicion of metafictional writing that tends to

in Jonathan Lethem
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Richard Wilson

these last plays that itself provides a solution, Free Will concludes, to the question they pose concerning technology, in the immanence of an art so humanly ‘warm’ [ Winter’s Tale, 5,3,109 ] that the audience grants it the royal ‘pardon’ [ Tempest, Epi.19 ] that it craves. In Paul Auster’s 2009 novel Invisible the poet protagonist discovers too late that the pact he

in Free Will
Dinaw Mengestu’s The Beautiful Things that Heaven Bears (2007) and Teju Cole’s Open City (2011)

expectation of commitment and reciprocity that Sepha has so far studiously avoided in his life in America (215). As Stephanie Li notes, ‘a future correspondence with Naomi promises a form of reading that is not an escape from life but an embrace of the vulnerabilities and visibilities required of genuine intimacy’. 22 As in my discussion of the connection between friendship and correspondence in Paul Auster’s work, letters in Mengestu’s novel can cultivate a kind of intimate distance. While the portrayal of Sepha’s friendship with Naomi is ultimately hopeful, the

in The politics of male friendship in contemporary American fiction
Affect and artifice in the melodramas of Isabel Coixet
Belén Vidal

excess, in which characters struggle to communicate their feelings in elaborate musings, off-the-wall dialogues, and small stories in which they reveal intimate secrets in indirect ways – an aspect that places Coixet’s films nearer to the literariness of Smoke (scripted by Paul Auster) than to the terse writing of Hartley or Jarmusch. The prawn joke that Ann (Lili Taylor) records in one of the videos

in Contemporary Spanish cinema and genre
A critical blindspot
Glyn White

different ends in their works. Contemporary writers such as Kathy Acker, Martin Amis, Paul Auster, Mark Danielwski, David Eggers, Lucy Ellmann, Richard Flanagan, Janice Galloway, Alex Garland, Stephen Knight, Michael Ondaatje, W. G. Sebald, Ray Shell and Irvine Welsh have all made varied or significant use of the graphic surface of their texts. 19 Between the 1960s and the present there seems to have been

in Reading the graphic surface
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Jason Jacobs

assistant for Robert Penn Warren and Cleanth Brooks at Yale again. Such a background p ­ oints – d ­ oes it not? – to a future career as a novelist: like Warren, John Cheever, Philip Roth and his contemporary Jane Smiley, he was a product of what Mark McGurl calls ‘the Program Era’.24 And others of his generation, notably genre fiction writers such as Stephen King, James Patterson, Kem Nunn as well as those somewhat snobbishly associated with the ‘literary’ end of the ­table – ­for example, Paul Auster, Richard Ford and Smiley ­again – ­all turned to the page as their

in David Milch
Deborah Shaw

in its narrative and cinematographic approach. Iñárritu has stated that the links created by writers/ directors Paul Auster and Wayne Wang in the early network narra­tives Smoke (Wang, 1995) and Blue in the Face (Auster and Wang, 1995) were a key influence for his film’s narrative. He comments: ‘in Amores perros we had a similar starting point to the latter [Auster and Wang]: characters from different walks of life whom chance brings together’ (Lawrenson and Pérez Soler, 2001).8 Another source, unacknowledged by the team but often claimed by critics and popular

in The three amigos
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Brooklyn goes to space in Girl in Landscape
James Peacock

Landscape the broken land which comes to symbolise rupture, memory and grief. In thus reading the alien landscape symbolically as her maternal Brooklyn, Pella might appear to romanticise the place and fabricate a myth-symbol complex every bit as incorporative and solipsistic as the protagonists’ in sentimental Brooklyn novels such as Solos and Paul Auster’s The Brooklyn Follies

in Jonathan Lethem