...
Show More
Coming off from Auster's "New York Trilogy" may be a hard sell for his others works, particularly for a screenplay, but one must try and look at different incarnations of writing objectively, despite having a certain bias towards the author. But the fact remains that Auster is always an enjoyable read--wrangling memories, the self, and being a flaneur, wherever that may be.
The book carries an interview piece with Auster and his producer for at least a few pages regarding the adaptation and how he came to write about "The Inner Life of Martin Frost." While I am not a fan of what seems to be a disclaimer or a background piece, as this could have been inserted after the screenplay, the interview rather pre-empts what transpires in the narrative. When Martin Frost wakes up with a stranger one morning, he realizes that what he might be missing in this drive to work on his manuscript seems to stem from his lack of affection. He finds this in the form of a woman, who may or may not exist in the physical world. The days pass by and Martin continues to work diligently, seemingly inspired by this strangers. But as it turns out, it was not only him who is experiencing this phenomenon. Could this be a part of himself that is projected in his life at the moment? Or is Martin living inside his head?
The descriptions are quite cinematic in nature, walking in and out of the visual elements such as the space, the look of the characters, several close up and wide shots on the area and the personalities involved. Althroughout the book, the notion on how memories can either be destructive or beneficial to an artist rings true, and the authors plays with them quite well as you keep questioning the merits of the physical and the imagined.
The book carries an interview piece with Auster and his producer for at least a few pages regarding the adaptation and how he came to write about "The Inner Life of Martin Frost." While I am not a fan of what seems to be a disclaimer or a background piece, as this could have been inserted after the screenplay, the interview rather pre-empts what transpires in the narrative. When Martin Frost wakes up with a stranger one morning, he realizes that what he might be missing in this drive to work on his manuscript seems to stem from his lack of affection. He finds this in the form of a woman, who may or may not exist in the physical world. The days pass by and Martin continues to work diligently, seemingly inspired by this strangers. But as it turns out, it was not only him who is experiencing this phenomenon. Could this be a part of himself that is projected in his life at the moment? Or is Martin living inside his head?
The descriptions are quite cinematic in nature, walking in and out of the visual elements such as the space, the look of the characters, several close up and wide shots on the area and the personalities involved. Althroughout the book, the notion on how memories can either be destructive or beneficial to an artist rings true, and the authors plays with them quite well as you keep questioning the merits of the physical and the imagined.
