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Hand to Mouth: A Chronicle of Early Failure…
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Hand to Mouth: A Chronicle of Early Failure (original 1997; udgave 2003)

af Paul Auster

MedlemmerAnmeldelserPopularitetGennemsnitlig vurderingOmtaler
7621222,048 (3.52)10
"This is the story of a young man's struggle to stay afloat. By turns poignant and comic, Paul Auster's memoir is essentially an autobiographical essay about money - and what it means not to have it." "From one odd job to the next, from one failed scheme to another, Auster investigates his own stubborn compulsion to make art, and describes his ingenious, often farfetched attempts to survive on next to nothing. From the streets of New York City and Paris to the rural roads of Upstate New York, the author treats us to a series of remarkable adventures and unforgettable encounters and, in several elaborate appendixes, to previously unknown work from these years. Here are three plays that contain the seeds of inspiration for some of Auster's future work, a tabletop baseball game (complete with cards and rules), and a pseudonymous detective novel - the author's first full-length novel." "Each is an example of Auster's effort to make money; each is an illustration of the artist's mind at work. The result is a book of manifold delights and discoveries, an autobiography that resembles no other."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved… (mere)
Medlem:chiscotheque
Titel:Hand to Mouth: A Chronicle of Early Failure
Forfattere:Paul Auster
Info:Picador (2003), Paperback, 176 pages
Samlinger:Dit bibliotek
Vurdering:
Nøgleord:Ingen

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Hand to Mouth: A Chronicle of Early Failure af Paul Auster (1997)

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molto valido come libro. intrigante per il modo con cui è stato scritto. i primi 30 anni di P.A. caratterizzati dalla ricerca di esperienze utili affinche si potesse arrivare ad essere uno scrittore e solo uno scrittore. nessuna deviazione nessuna perdita di tempo solo la volontà di diventare scrittore. ma quanti sono i fallimenti quante le delusioni prima di approdare al traguardo. sbarcare il lunario parla di queste ricerche di esperienze e dei tanti fallimenti avuti prima di diventare famoso. bello la struttura del libro con tre allegati. due racconti teatrali e un racconto poliziesco, bellissimo e intrigante. vale assolutamente la pena di leggerlo. bravo bravo ( )
  raix | Apr 9, 2021 |
In den sechziger Jahren kehrt der junge Paul Auster den USA den Rücken. Er reist voller Hoffnung nach Europa, ins Paris der Boheme und der Studentenrevolte, um dort Schriftsteller zu werden. Doch zunächst einmal muss er sich seinen Unterhalt verdienen. Seine mühsamen Versuche als Übersetzer, Rezensent oder Ghostwriter bringen jedoch kaum etwas ein. Er kehrt nach New York zurück, aber dort ergeht es ihm nicht besser. Seine Dramen werden nicht aufgeführt, seine Gedichte nicht veröffentlicht. Da findet ein unter Pseudonym geschriebener Krimi endlich einen Verleger. Doch kaum ist der Vertrag geschlossen, geht der Verlag pleite... Amüsant und voller Selbstironie schildert Paul Auster seinen Werdegang vor dem Hintergrund der bewegten sechziger und siebziger Jahre.
  Fredo68 | May 26, 2020 |
Nah. ( )
  Stubb | Aug 28, 2018 |
In dit boek geeft Auster voornamelijk een opsomming van alle baantjes die hij voor zijn dertigste gehad heeft. Hij heeft het over geld dus, en het gebrek eraan. Hoe geld het huwelijk van zijn ouders kapotmaakte. En hoe het gebrek aan geld Auster dwong zichzelf te ‘prostitueren’ (d.w.z. baantjes aannam die het hem onmogelijk maakten om te schrijven, of banale vertaalopdrachten die hem van zijn eigen werk afhielden).

Hij doorspekt dat met anekdotes die bewijzen dat Auster wel degelijk over het materiaal beschikt om een boeiend meeslepend boek te schrijven. (Het materiaal waar de boeken van Bukowski, Mailer, Miller en Kerouac van gemaakt zijn: Parijs, olietankers, cafégevechten, kunstenaarskringen, studentenrevoltes, zwervers, …)

‘Elaas, in deze ‘memoire’ haakt hij steeds af wanneer het interessant begint te worden, met altijd dezelfde conclusie: nu begint het echt wel moeilijk te worden om rond te komen.
Maar hoe moeilijk het precies wordt, krijg je nooit te horen: deurwaarders, schuldeisers, bedelstaf, diefstal, leningen, parasiteren op de kap van je vrienden? Elementen zo frequent aanwezig in de armoe-memoires waar ons literaire erfgoed zo rijk aan is, ontbreken hier volkomen.

Eerder lijkt het Auster gewoon aan vaste inkomsten te ontbreken, maar is hij wel in staat om van beurs naar beurs, van artikel naar essay, van vertaalopdracht naar vertaalopdracht te springen en op die manier – en hard werkend – aardig rond te komen.

Over zijn privéleven (vriendin-vrouw-echtscheiding) krijg je zo goed als geen informatie. Over zijn eigen schrijven wordt slechts terloops eens iets opgemerkt (en enkel wanneer het (geen) geld opbrengt). Nooit (nu ja, bijna nooit) gaat het over de inhoud, nooit gaat het over zijn visie.

Vergeleken met de lotgevallen van andere (armere?) schrijvers is dit dan ook een wat aanstellerig boek, waarin een schrijver naar voor treedt die zo onafhankelijk wil zijn van geld (om te kunnen schrijven) dat hij alleen nog maar over geld kan schrijven. ( )
1 stem razorsoccam | Feb 3, 2016 |
this is a combo book. the first part is a memoir, then there are 3 plays and 1 detective novel. i have thus far not really liked paul auster's writing all that much, but i liked his memoir. the first of the 3 plays i liked the best, and know that it needs some kind of graduate class in existentialism to really understand, but i liked what i think he was getting at. the other two plays much less so, although i'm sure they're also really brilliant in their esoteric way, they're just too esoteric for me. the novel was so different from his usual style that i should have loved it, but it was so overwritten. i think this was probably intentional, and as i don't read many 'private i' books, i can't make a comparison. i read a bit of it out loud and it sounded like the voiceover from who framed roger rabbit - that kind of overblown language, overuse of metaphors, etc. but compelling enough to keep reading. and i always enjoy his baseball references and how much he obviously loves the game. ( )
  overlycriticalelisa | Apr 2, 2013 |
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Even given this memoir's limited ambitions -- it is not a full-fledged autobiography but a meditation on the author's early struggles to make a living -- there is something undernourished about it. It's not just the author's flat-footed prose; it's his refusal to give us the sort of color, insight and emotional detail that might transform his narrative into something more than a series of anecdotes strung like pop beads along a theme. Mr. Auster skims over the role his conflicted feelings about his parents' divorce played in shaping his attitude toward money, and he completely ignores the role his destitution played in the breakdown of his marriage.

The reader gets no real sense of Mr. Auster's relationship with his parents, his ex-wife or his son, no real understanding, for that matter, of his own personality other than that he wanted to be a writer, glamorized the idea of failure and had deeply ambivalent feelings about money. Mr. Auster's reticence on these matters seems motivated less by a conscious desire to withhold secrets than by a writerly obsession with compression and concision. Indeed many fascinating stories in this book are curiously brushed off in asides. Mr. Auster's observation that he once knew 7 of the F.B.I.'s 10 most wanted men -- this was in 1969, when student radicalism was at its height -- is tossed away in a sentence. And his encounters in Mexico with a ''man who threatened to kill me'' and a ''schizophrenic girl who thought I was a Hindu god'' are consigned to a parenthetical mention.
tilføjet af SnootyBaronet | RedigerNew York Times, Michiko Kakutani (Sep 2, 1997)
 

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IN MY LATE twenties and early thirties, I went through a period of several years when everything I touched turned to failure.
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Nothing much happened, and since most of the business was conducted through the mail, it was a rare day when anyone came to the apartment and disturbed us at our work. Late one afternoon, however, when Arthur was out on an errand, John Lennon knocked on the door, wanting to look at Man Ray photographs.
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"This is the story of a young man's struggle to stay afloat. By turns poignant and comic, Paul Auster's memoir is essentially an autobiographical essay about money - and what it means not to have it." "From one odd job to the next, from one failed scheme to another, Auster investigates his own stubborn compulsion to make art, and describes his ingenious, often farfetched attempts to survive on next to nothing. From the streets of New York City and Paris to the rural roads of Upstate New York, the author treats us to a series of remarkable adventures and unforgettable encounters and, in several elaborate appendixes, to previously unknown work from these years. Here are three plays that contain the seeds of inspiration for some of Auster's future work, a tabletop baseball game (complete with cards and rules), and a pseudonymous detective novel - the author's first full-length novel." "Each is an example of Auster's effort to make money; each is an illustration of the artist's mind at work. The result is a book of manifold delights and discoveries, an autobiography that resembles no other."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

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