Invisible

Paul Auster has been described as “a one trick pony that’s saddled up and left town” so much in thrall to the conventions of metafiction that any narrative drowns under the weight of post modern literary artifice. This is arguably not the case with “Invisible”. Whilst the trademark preoccupations (memory, truth, despair …) are present they don’t obtrude. This is actually a, relatively, conventional coming of age story. Told in four interlocking parts, the prose is precise and controlled. The dialogue is convincing and the narrative voices are well differentiated. There are momentary lapses but these are neatly dealt with. Without revealing any plot details the interlocking parts are independently authored. Whilst the names have been changed to protect the innocent the text has otherwise been rendered accurately - it’s the post-modern authors “get out of jail card”.

It’s still a “tricksy” novel though, but it’s not a full blown “Philip K Dickian” “mind-f**k”. There’s the usual blurring of boundaries – Adam Walker is a Columbia student (guess where Paul Auster went), Georges Perec gets a mention – no one reads airport thrillers in an Auster novel, and as you’d expect it abounds with references and allusions (I think!). I’m fairly sure I didn’t get one half of them but I’m convinced Rudolf Born bears more than a passing resemblance to Kurtz although, naturally, it’s the Marlon Brando reincarnation that features. Sadly I can’t mention any others without a spoiler warning (or maybe that’s my get out of jail card?)

So Although “Invisible” is firmly within the Auster fold it’s also his most readable to date. With previous novels it’s hard to avoid the feeling that they are read in the main by cognoscenti ticking off or nodding to each reference in smug satisfaction. It’s still an option here but more than any of his previous work it’s also possible to just sit back and enjoy the ride.