Paul Auster’s 4 3 2 1. Past Paradigms
There is something strange about a cast of characters that comes in tetrads centering on duplicate yet different protagonists with identical names, and critics who argue that Auster’s mastodon novel, 4 3 2 1, marks a return to realism fail to take into account the inflated tone of the fabular woven...
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| Format: | Article |
| Language: | English |
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Presses universitaires de Rennes
2020-06-01
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| Series: | Revue LISA |
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| Online Access: | https://journals.openedition.org/lisa/11459 |
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| author | I. B. Siegumfeldt |
| author_facet | I. B. Siegumfeldt |
| author_sort | I. B. Siegumfeldt |
| collection | DOAJ |
| description | There is something strange about a cast of characters that comes in tetrads centering on duplicate yet different protagonists with identical names, and critics who argue that Auster’s mastodon novel, 4 3 2 1, marks a return to realism fail to take into account the inflated tone of the fabular woven into the texture of the narrative. Auster has worked with alternativity before, but 4 3 2 1 takes his penchant for unknowability to a new level. It installs a constitutive element of heterogeneity at the core of the text and sabotages readerly expectations. It would be far-fetched to argue that 4 3 2 1 forges a literary strategy, in which ‘myth’ and ‘the everyday’ converge, that is consonant with a new type of twenty-first century fiction which critics are currently at pains to define. |
| format | Article |
| id | doaj-art-e3b85ede9a7d4456b0c94a18d95996be |
| institution | Kabale University |
| issn | 1762-6153 |
| language | English |
| publishDate | 2020-06-01 |
| publisher | Presses universitaires de Rennes |
| record_format | Article |
| series | Revue LISA |
| spelling | doaj-art-e3b85ede9a7d4456b0c94a18d95996be2025-01-06T09:03:02ZengPresses universitaires de RennesRevue LISA1762-61532020-06-011810.4000/lisa.11459Paul Auster’s 4 3 2 1. Past ParadigmsI. B. SiegumfeldtThere is something strange about a cast of characters that comes in tetrads centering on duplicate yet different protagonists with identical names, and critics who argue that Auster’s mastodon novel, 4 3 2 1, marks a return to realism fail to take into account the inflated tone of the fabular woven into the texture of the narrative. Auster has worked with alternativity before, but 4 3 2 1 takes his penchant for unknowability to a new level. It installs a constitutive element of heterogeneity at the core of the text and sabotages readerly expectations. It would be far-fetched to argue that 4 3 2 1 forges a literary strategy, in which ‘myth’ and ‘the everyday’ converge, that is consonant with a new type of twenty-first century fiction which critics are currently at pains to define.https://journals.openedition.org/lisa/11459realism4 3 2 1fableheterogeneityparadigms |
| spellingShingle | I. B. Siegumfeldt Paul Auster’s 4 3 2 1. Past Paradigms Revue LISA realism 4 3 2 1 fable heterogeneity paradigms |
| title | Paul Auster’s 4 3 2 1. Past Paradigms |
| title_full | Paul Auster’s 4 3 2 1. Past Paradigms |
| title_fullStr | Paul Auster’s 4 3 2 1. Past Paradigms |
| title_full_unstemmed | Paul Auster’s 4 3 2 1. Past Paradigms |
| title_short | Paul Auster’s 4 3 2 1. Past Paradigms |
| title_sort | paul auster s 4 3 2 1 past paradigms |
| topic | realism 4 3 2 1 fable heterogeneity paradigms |
| url | https://journals.openedition.org/lisa/11459 |
| work_keys_str_mv | AT ibsiegumfeldt paulausters4321pastparadigms |