Do Not Assume (The George Thomas Trilogy Book 1)

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The facility with which Perry moves between these worlds and registers recalls Thomas Pynchon or George Saunders — the sense of a writer so completely in control of her craft that she is able to inhabit any number of different guises, each of them perfectly convincing. Helen recounts a visit to Manila years earlier when attempting to escape her stultifying parents. We realise that every life contains its scenes of horror, and that at each one Melmoth is there, watching.

The Angel would like to stay, awaken the dead, and make whole what has been smashed. Like Benjamin, Perry is asking us to consider both the importance of bearing witness and the toll it takes on those called to bear it. In a powerful scene halfway through the novel Karel, in an unnamed English airport, sees a man in chains being led by two security guards. The reader, who is repeatedly addressed over the course of the novel, is left with the feeling that, more than anything, Melmoth is a good book, one that, for all its uncanny shudders, comes from a place of decency and good faith, a beacon against the darkest times.

Books | Valerie Bowman

Topics Sarah Perry Book of the day. Fiction reviews. Quinn allowed himself to be confused with the detective, Paul Auster, in an early morning telephone call from Peter Stillman and his wife. Impersonating Auster, Quinn promises to protect Peter Stillman, fils, from his father, Peter Stillman, who abused him as a child and is about to be released from prison. Seen one way, this incident, and also the fate of Blue in Ghosts , establishes that thematically, Auster's The New York Trilogy is a meditation on the problematic of self-identity, in which a "textual" sense of the self undermines our common sense, essentialist notions of selfhood.

He's living in a back room of the Stillman's apartment, but where does the food come from? Who brought it? Why couldn't the narrator find him? Novels needn't establish verisimilitude to carry out their business, but from the reader's point of view it helps. When the novel overtly refuses to do so for example, magical realism , we may be sure that the text intends something thematically significant.

While on one level, T he New York Trilogy invokes the problematic between signification and selfhood, on another level we can see a thread in the trilogy involving the relationship between signification and space.

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City of Glass opens with Quinn leaving his apartment to walk around New York, a random walk he took almost every day:. New York was an inexhaustible space, a labyrinth of endless steps, and no matter how far he walked, no matter how well he came to know its neighborhoods and streets, it always left him with the feeling of being lost. Lost, not only in the city, but within himself as well. By wandering aimlessly, all places became equal, and it no longer mattered where he was.

On his best walks, he was able to feel that he was nowhere. And this, finally, was all he ever asked of things: to be nowhere. New York was the nowhere he had built around himself, and he realized that he had no intention of ever leaving it again. Becoming an aimless pedestrian has internal as well as external consequences. Through walking, he leaves "home," both his apartment and his sense of self. But, as he indicates, he is somewhere: "nowhere," a nowhere of "his" own construction. Unlike Rousseau and Nietzsche, those famous walkers who came to themselves when walking albeit in much different ways , Quinn creates a pedestrian space for himself where he is not.

This space is for him, we assume, an ideal place, a utopia, a no-where. Rather than losing himself in space, he must track another, and this involves meticulously observing the space and self of his quarry.

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Quinn watches Grand Central for Stillman to emerge from the train. When two men matching Stillman's description materialize, Quinn arbitrarily chooses the second as his man. He follows him through the West Side shuttle, and uptown two stops on the Broadway express to 96th Street. Stillman walks several blocks to the Hotel Harmony on Broadway and 99th, where he rents a room. Quinn begins his surveillance.

Stillman emerges every morning for a walk, and like the formerly solitary Quinn, Stillman's walks seem to follow no pattern, except that they keep to a narrowly circumscribed area, "bounded on the north by th Street, on the south by 72nd Street, on the west by Riverside park, and on the east by Amsterdam Avenue" Stillman, the sidewalk bricoleur, stops frequently, collecting random junk from the streets. As the days go by, Quinn senses that he "was going nowhere, was wasting his time.

After thirteen days of following Stillman's aimless wandering, however, Quinn becomes increasingly hopeless. For no particular reason, Quinn moves to a fresh page in his notebook and begins to map Stillman's walks, day by day. Quinn's thoughts momentarily flew off to the concluding pages of A. Gordon Pym and to the discovery of the strange hieroglyphs on the inner wall of the chasm—letters inscribed into the earth itself, as though they were trying to say something that could no longer be understood.

But on second thought this did not seem apt. For Stillman had not left his message anywhere. True, he had created the letters by the movement of his steps, but they had not been written down. It was like drawing a picture in the air with your finger.

The image vanishes as you are making it. There is no result. No trace to mark what you have done. And yet, the pictures did exist—not in the streets where they had been drawn, but in Quinn's red notebook. Stillman's steps and their evanescence mirror the problem Quinn finds at the end of the book, quoted earlier: "He wondered if he had it in him to write without a pen, if he could learn to speak instead, filling the darkness with his voice, speaking the words into the air, into the walls, into the city, even if the light never came back again" The answer to Quinn's speculation seems to be no, because significance in the world must emerge as the consequence of the relation between one's self and another even if sometimes that other is oneself.

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The idea that space is significant is, of course, not new: witness the phrases "the book of the world," or "the book of nature. Curtius adds that throughout the early and middle Christian eras, significance was something not to be inscribed onto the earth, but to be discovered in it. For him, however, the world is the 'showing forth of the inner word. Unlike space which is inscribed with significance through an intentional act, or space which is discovered to contain a type of implicit transcendental intentionality, Peter Stillman's book describes the space of signification as one that occurs within discourse, a space that, he notes, emerged only following the discovery of the New World.

From the very beginning, according to Stillman, the discovery of the New World was the quickening impulse of utopian thought, the spark that gave hope to the perfectibility of human life--from Thomas More's book of to Gernimo de Mendieta's prophecy, some years later, that America would become an ideal theocratic state, a veritable City of God.


The second part, basing its discussion in part on Milton, argues that human life per se did not actually begin until after the Fall:. Adam's one task in the Garden had been to invent language, to give each creature and thing its name. In that state of innocence, his tongue had gone straight to the quick of the world. His words had not been merely appended to the things he saw, they had revealed their essences, had literally brought them to life.

A thing and its name were interchangeable. After the fall, this was no longer true. Names became detached from things; words devolved into a collection of arbitrary signs; language had been severed from God. The story of the Garden, therefore, records not only the fall of man, but the fall of language.

The Tower of Babel story, occurring where it does in Genesis, records the "very last incident of prehistory in the Bible. In other words, the Tower of Babel stands as the last image before the true beginning of the world" The second part of Stillman's work then turns abruptly to the story of Milton's putative secretary, Henry Dark, and his journey to the New World.

Dark did not assume paradise to be a place that could be discovered. There were no maps that could lead a man to it "Rather, its existence was immanent within man himself: the idea of a beyond he might someday create in the here and now. For utopia was nowhere--even, as Dark explained, in its "worldhood. Building the New Babel in the New World, ""the whole earth [could] be of one language and one speech. And if that were to happen, paradise could not be far behind" In this new physical Tower, "there would be a room for each person, and once he entered that room, he would forget everything he knew" For Dark, then, the utopian project of the New Babel would at once incorporate post-lapsarian, human intentionality with God's transcendental plan.

Two of the preponderant spatial themes in City of Glass recur in altered form in the second volume, Ghosts , that of utopic space and of "losing" oneself in space. For this utopia, however, we must move forward to the American Renaissance. While observing Black, Blue notes the book he is reading, Thoreau's Walden. Later, following him into a bookstore, he comes across the book published by Walter J. Black, Inc. Several days later, sitting indolently in his apartment, Blue finally brings himself to read the book.

Blue was hoping for a story, but all he read were endless natural descriptions and harangues.

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Even a second try, while helping him understand the book a little better, doesn't prevent him from tossing the book aside. Nonetheless, it has had its effect:. What if he stood up, went out the door, and walked away from the whole business? He ponders this thought for a while, testing it out in his mind, and little by little he begins to tremble, overcome by terror and happiness, like a slave stumbling onto a vision of his own freedom. He imagines himself somewhere else, far away from here, walking through the woods and swinging an axe over his shoulder.

Alone and free, his own man at last. He would build his life from the bottom up, an exile, a pioneer, a pilgrim in the new world. But that is as far as he gets. For no sooner does he begin to walk though these woods in the middle of nowhere than he feels that Black is there too, hiding behind some tree, stalking invisibly through some thicket, waiting for Blue to lie down and close his eyes before sneaking up on him and slitting his throat. Momentarily envisioning himself in a solitary Thoreauvean utopia, Blue quickly realizes that solitude would be impossible, that his tie to Black is inextricable.

In both Utopia and The New Babel , the quest is to build an external structure, that of an island or a huge building, and by reordering citizens' external relationship to space and property, destroy historical time and its attendant injustices through mandating an ultimately static space.