Paul Auster Quotes

I think if we didn't contradict ourselves, it would be awfully boring. It would be tedious to be alive.

Some people are great, and they approach each work with honesty, and that's wonderful. But when people have built up a sort of resentment or animosity for reasons that are hard to put your finger on, they read in bad faith.

Cities - I'm attracted to them, and I have a special attachment to New York...it's my place.

Dismantling the architecture of my discontent

No one wants to be part of a fiction, and even less so if that fiction is real.

We are all aliens to ourselves, and if we have any sense of who we are, it is only because we live inside the eyes of others.

What matters is not how well you can avoid trouble, but how you cope with trouble when it comes.

What if I had been born during a war and I lived in an occupied city, and people were being taken out and shot every day? Everything would be different - even after the war ended, my future would be very different. Look at what these poor people in Aleppo are going through. The children, the ones who survive, are going to be absolutely altered by what they live through, and you and I, luckily, have never had to deal with that.

I guess of all those novels, Don DeLillo's Falling Man is the one I like the best. I thought there were some beautiful things in that, particularly the relationship between the man who finds the briefcase and the woman whose husband owned the briefcase. It's quite a beautiful passage.

When I think of Tokyo Story, yeah, it is like a novella. That doesn't mean it's not great. Some of my favorite Tolstoy works are his novellas.

I was born just after the end of World War II, and with my friends in our little suburban backyards in New Jersey, we used to play war a lot. I don't know if boys still play war, they probably do, but we were thrusting ourselves into recent history and we were always fighting either the Nazis or the Japanese.

As Siri says, who is deeply involved with neuroscience, emotion consolidates memory, and I think that's true.

People who don't like my work say that the connections seem too arbitrary. But that's how life is.

I don't think of myself as a metafictional writer at all. I think of myself as a classic writer, a realist writer, who tends to have flights of fancy at times, but nevertheless, my feet are mostly on the ground.

It often happens that things are other than what they seem, and you can get yourself into trouble by jumping to conclusions.

Memory and the imagination are almost identical. It's the same place in the brain and the same thing is happening. When you think about your own life, there are no memories without place. You are always situated somewhere. I think the imagination - the narrative imagination at least - situates you in a specific space when you start to think of a story. I often use places I know. I put my characters inside rooms and houses that I'm familiar with - sometimes the houses of my parents or grandparents or previous apartments I've lived in.

I thought, "Well, I'm writing about early childhood, so maybe it would make sense to write about late childhood as well, early adulthood." Those were my thoughts, and this was how this crazy book [Winter Journal] was composed. I've never seen a book with pictures like at the end, pictures related to things you've read before.

It always stimulates me to discover new examples of my own prejudice and stupidity, to realize that I don't know half as much as I think I do.

Bodies count, of course - they count more than we're willing to admit - but we don't fall in love with bodies, we fall in love with each other. We all know that, but the moment we go beyond a catalogue of surface qualities and appearances, words begin to fail us, to crumble apart in mystical confusions and cloudy, unsubstantial metaphors.

We're outsiders, and so when we walk through the city, we're there and not there at the same time, participating and observing simultaneously.

You can't ever approach a book as a complete virgin, certainly not if you're a critic. There is a lot of bad faith out there. That's why I finally trained myself not to look at this stuff anymore, because it doesn't do me any good to see myself either praised or attacked.

Every man is the author of his own life.

I know the pleasure you get from making your films. The intense involvement in every aspect: the acting, the camera, the colors, the costumes, even the hair and makeup. Editing is thrilling. Everything to do with films is absorbing - everything but the money part, the business. But I'm deeply glad I've had that experience.

Everyone reads a different book. That's what's interesting. Everyone sees a different film, as well. We bring our past lives to whatever work of art we're experiencing at that moment, and that's what makes it interesting. It's not mathematics. There are different answers for different people.

Writing begins in the body, it is the music of the body, and even if the words have meaning, can sometimes have meaning, the music of the words is where the meanings begin....Writing as a lesser form of dance.

I knew from the age of 16 that I wanted to be a writer because I just didn't think I could do anything else. So I read and read and wrote short stories and dreamed of escape.

Eighteen is a terrible age, and while I walked around with the conviction that I was somehow more grown-up than my classmates, the truth was that I had merely found a different way of being young.

Even when I'm just sitting at my desk, I have to get up every twenty minutes or so and walk around, walk around, walk around, and then I can go back to the page. I can't just sit there for hours at a time. Language comes out of the body as much as the mind.

Most people just want to be part of the world, they want to live, love, and enjoy themselves - to take part in the world around them. Whereas artists are always retreating, locking the door, and inventing other worlds.