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Sample of a dissertation proposal

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Sample dissertation proposal - University of Warwick

paul auster resume Made up of three short novels, Paul Auster's 'New York Trilogy' examines the changing identity of the main characters in sample of a proposal a novel, while also investigating the imbalance between the physical author of a book, the individual who puts his name onto an essay on nature chamberlin the cover, and the authentic author who I am not certain is the same person. 1 The first part, 'City of Glass', uses the conventions of the crime thriller in a metaphysical apologue about man in dissertation proposal relation to new england essays subconscious control and solitude. 'Ghosts', the of a, middle section, too uses the thesis, detective story in showing a man forced effectively to 'tail' himself. Of A Dissertation Proposal? The concluding part, 'The Locked Room', is an Oedipus greek autobiography by sample dissertation the unnamed friend of a disappeared literary giant. Though the stories and styles are very contrasting, they are in essence all the essay, same tale, with 'The Locked Room' finally resolving the odyssey. The trilogy has numerous subliminal references to the 19th Century American authors which have most influenced Auster, and shaded his literary identity. Quinn's nom de plume in 'City of Glass' is William Wilson, also the sample of a proposal, name of an Edgar Allan Poe short story about doppelgängers. In 'The Locked Room', the narrator says his name is Herman Melville, and Fanshawe mimics the opening line of 'Moby Dick' in on nature chamberlin his letter starting Call me Redburn. Thoreau's 'Walden' is a major part of of a proposal, 'Ghosts', with Thoreau mentioned in 'City of Glass', and thesis one Dennis Walden in 'The Locked Room'. Auster immediately thrusts the reader into a maelstrom of multiple and sample of a dissertation proposal confused identities from the outset.

The central character is a reclusive author called Daniel Quinn, a writer of detective fiction, who hides behind the pseudonym of William Wilson. Quinn's books feature the detective Max Work. The information the narrator gives almost perfectly matches Auster, with age, occupation and pastimes being identical. Clearly Quinn is Auster's alter ego. The only named book by Quinn, or 'William Wilson', is 'Suicide Squeeze'; in 1982 Auster wrote a pseudonymous detective novel, 'Squeeze Play', while the same age as Quinn.

At the start of the novel, Quinn has just finished a Max Work novel, in which Work's exploits have been very energetic. Quinn is an essay chamberlin, said to sample dissertation proposal be feeling somewhat exhausted by spring binder thesis his efforts; his could refer to either Quinn or Work, either the sample proposal, creator or the creation - his 'work'. Thus the thesis, identity of sample of a, Quinn and Work are blurred, with Wilson being the bridge that allowed Quinn to pass himself into Work. Work, the my side essay, private eye, or private 'I', becomes a presence in sample of a dissertation Quinn's life, his interior brother and of the essay paradoxically, his comrade in solitude. By having Quinn phoned by someone asking to proposal speak to 'Paul Auster', the private detective, Auster establishes an elaborate and complex web of characters and identity. This is further complicated by Quinn, the detective writer, choosing to spring thesis become 'Paul Auster the detective' and help his 'client', one Peter Stillman. Sample? Indeed, although he has no idea who 'Auster' is, he gets ready to do what 'Auster' has promised to do, as in a kind of trance, having found himself doing a good impression of a man preparing to go out, namely 'Auster'. The transformation continues, as he enters Stillman's flat: he could feel himself going blank, as if his brain had suddenly shut off. Used by Auster to explore multiple facets of identity, Peter Stillman is a Kaspar Hauser-like character cut off from new england essays, all human contact for most of his life by his father - also called Peter Stillman. The younger Stillman is literally a 'still man', someone who has lived a deathly existence.

Still is also constant or stationary; Peter is the boy who never grew up. Stillman is sample of a, very confused about language, words and names, and their validity. He says to Quinn, My real name is thesis bibliography, Mr Sad. What is your name, Mr Auster? Perhaps you are the real Mr Sad, and I am no one. Of A Proposal? In rejecting his name, he can replace it with one of his choosing, depending on his mood. For he states I am Peter Stillman. That is not my real name.

My real name is Peter Rabbit. On Nature Chamberlin? However he further says Perhaps I am Peter Stillman, and of a proposal perhaps I am not. My real name is Peter Nobody. Of his wife, he says that Virginia is not her real name. But that makes no difference. To me. Of The? Names may not make a difference to Peter, and by rejecting the name Peter Stillman he is rejecting the name his tyrannical father gave to of a him, also his father's name. We are both Peter Stillman.

But Peter Stillman is not my real name. So perhaps I am not Peter Stillman, after all. To Peter Stillman his identity is thus not dictated by his name, but by his random and irrational whims. His detachment from human contact was part of his father's experiment on the effect of isolation on the development man's language. Yet this isolation has deprived Stillman of constant and definitive identity.

As he says, I cannot say who I will be tomorrow. My Side Of The Mountain? Each day is sample, new, and each day I can be born again. A red notebook is spring thesis, a trademark of both Auster and his characters: not only dissertation proposal Quinn, but Peter Stillman Sr. and later on Fanshawe also have one. A recent collection of Auster's prose was called 'The Red Notebook', containing material parallel and referential to the trilogy. In order that things might not get out of control, Quinn buys one in which to record his notes on the Stillman case.

Quinn writes his own name in a book for the first time in more than five years, thus an attempt to reassert his true identity, though still hiding behind the an essay, mask of 'Auster'. His first entry ends by saying most important of all: remember who I am supposed to be. All I can say is this: my name is Paul Auster. That is not my real name. Here Auster first presents an idea which recurs throughout the dissertation, trilogy, of a facet of one person's character being echoed in another, usually the protagonist. Quinn, consciously or not, echoes Peter Stillman's confusion with his true identity, unsurprising as Quinn is trying to be four people simultaneously. In following Stillman, Auster gives Quinn an 'escapist holiday' as 'Auster' the detective. Although ostensibly the same person, he felt as though he had somehow been taken out of how to make financial business, himself, someone without the sample of a, burden of his consciousness. Although it becomes clear to the reader that this situation is not as straightforward or tame as it seems, Quinn sees his state as a simple trick of intelligence, a deft little twist of naming. Most importantly, he believes - erroneously - that He had not really lost himself and that he could return to Quinn whenever he wished.

Although the notebook bears Quinn's initials, Quinn has denied his true self by becoming people who do not exist, thus making a 'return to being Quinn' an impossibility, as there is no real Quinn. This is underlined as, while waiting for Stillman's train, he sees someone reading 'Suicide Squeeze'. They are identified as one of his readers, despite being one of the non-existent William Wilson's, not Quinn's. In an audacious leap of imagination, Auster introduces both a shabby Stillman, and Oedipus greek a prosperous old man, Stillman's exact twin, his 'doppelgänger'. The twins represent the two differing paths this man's life could have taken, and place Quinn in an impossible situation: he can only follow one man. In Auster's memoir 'The Invention of Solitude', he quotes St Augustine, who says the mind is too narrow to contain itself entirely. But where is that part of it which it does not contain? 2 Here he is presenting a possible - surreal - answer. It is as if Stillman is sample dissertation proposal, mocking Quinn, the new england, man of many identities, with a double, showing him that he can only sample dissertation have one body.

Quinn craved an amoeba's body, wanting to cut himself in half and new england essays run off in two directions at once. Yet this completely destabilises him as Uncertainty would haunt him to the end, as the double's introduction highlights Quinn's deception: Quinn and the real detective 'Auster' could have followed both men. The nonentity of Stillman's identity is underlined as Quinn follows him on ostensibly random walks around New York, as he drifts from being one person to another. Although he sees 'Auster' as no more than a name. a husk without content and a man with no interior, a man with no thoughts, he 'becomes' 'Auster', with it being noted almost immediately after, that even Auster began to sample of a proposal droop from the mountain, monotony. Quinn's actions further find him momentarily confusing himself with Max Work, another lonely 'detective', who also does not truly exist - except inside Quinn. The older Peter Stillman becomes the dissertation proposal, most powerful character in the second half of the an essay on nature, novel. Whereas previously Quinn has been in dissertation proposal charge of his actions and thus has 'authorial control', following the elderly Stillman means that Quinn's actions are dictated by Stillman's movements. In Stillman's book on religion and language, he draws on ideas from a book by the elusive 17th century figure Henry Dark - actually Stillman's fictional creation. When Quinn starts writing down Stillman's exact movements as he tails him, he notices that he walks in new england the shape of letters that seem to of a proposal spell out 'THE TOWER OF BABEL', a major component of Dark's - and thus Stillman's - philosophy as set out in his book, 'The Garden and the Tower: Early Visions of the New World'.

These specific and calculated movements suggest that the ostensibly oblivious Stillman is in fact aware of Quinn's presence. In this way too, Stillman is assuming the authorial role. Thus Quinn becomes the old man's shadow, a quasi-Stillman through his pursuit. Perversely, as he is supposed to be 'Auster', that is the identity that he hides, and can reveal his own name to Stillman, as even the truth, would be an invention, a mask to hide behind and keep him safe. A further link between the two men is established when Stillman reveals that he too is an essay on nature, collecting data, gathering evidence, like the detective Quinn is not. In three encounters, the two men meet and converse, each time Stillman meeting him as for the first time. The first time, Quinn - acting as 'Auster' - uses the name Daniel Quinn. The second time he is 'Henry Dark' - a further echo of Stillman. Sample Of A Dissertation Proposal? In the third encounter, he is Peter Stillman, Stillman's son.

In this last encounter, Stillman says that people change, don't they? One minute we're one thing, and then another another, suggesting that he may only on nature chamberlin be allowing Quinn to 'believe' that he is in control, while Stillman still actually holds the reins. Of A Dissertation? This control is exerted, as one day Stillman disappears, leaving Quinn having to revise his view of him being inside his skin. The 'real' Paul Auster is on nature chamberlin, introduced, Quinn having lost contact, both mentally and physically, with Stillman. Sample Of A Dissertation? He is confronted with a carbon copy of the author Paul Auster, but not a detective. It soon becomes apparent that this Auster is not the narrator. The reader is teased, Quinn having been told that he has got the wrong Paul Auster, replies You're the only one in the book, punning on Oedipus greek myths novel and telephone book. Auster remembers Quinn from his book 'Unfinished Business', and Quinn has come to him to dissertation proposal get help to finish Stillman's 'business'. Strangely, Quinn - who is or other greek, 'Auster' - finds nothing interesting inside his head, suggesting that there can only sample proposal be one Auster at a time. Auster is writing an essay on Oedipus or other myths the complex authorship of Cervantes' 'Don Quixote', whose initials Quinn shares.

Indeed, this link provides a clue to authorial power, as Virginia Stillman says that Michael, the husband of Peter's nurse, Mrs Saavedra, recommended 'Paul Auster', giving Quinn's number - in essence thrusting him into the story. Sample Of A Proposal? Auster's essay suggests 'Don Quixote' has several authors, and similarly in 'City of Glass', Michael Saavedra is binder, one of the of a proposal, authors. The latter's name in Spanish is Miguel Saavedra, Cervantes' Christian names, and indeed Cervantes' complexities are mirrored in Paul Auster's book. Quinn's decline and an essay on nature eventual escape from authorial control are the dissertation proposal, focus of the last section of the novel. The statement that He had nothing, he knew nothing, he knew that he had nothing establishes his descent into being a non-identity. Indeed, in the red notebook he writes a translation of Baudelaire, wherever I am is the place where I am myself. Similarly in Auster's 'Mr Vertigo', the protagonist is taken to places of such inwardness that I no longer remembered who I was.

3 Establishing a motif for the second part, Quinn is said to go unnoticed, like a ghost, having melted into the walls of the or other, city. the sample of a, view of the narrator is that He had been one thing before, and now he was another, this being neither better nor worse, but different, and that was all. The reassertion of Quinn's identity takes place in a darkened room, where food and Oedipus myths drink is of a dissertation, provided, but the provider is not seen. This has obvious echoes with Peter Stillman's experiences as a child, controlled by his father. The 'power' controlling Quinn seems comparable to what Paul Auster describes about writing: I always feel that I'm in the hands of an unknown power. something that forces me to an essay on nature do all that without knowing very well what it is. Quinn's recovery is effected as he realised that Max Work was dead, and that the baseball player William Wilson, and his own, cancelled each other out, and sample of a proposal that was all.

Having shaken 'Auster' and Stillman's control, he can be himself, with Work and Wilson also gone. His departure from the locked room and authorial power results in his freedom and true existence. The narrator's identity is hinted at, but not divulged, at the book's conclusion, as he is revealed to be a friend of Auster. Thesis? The latter had become obsessed by of a dissertation proposal the case and wanted my advice about what he should do, just as Quinn had done, the of the mountain essay, mantle now having passed on. Going to of a Quinn's room they find that It was unlocked, signifying Quinn's release and resulting freedom. Yet the narrator's identity is bibliography, clouded more by him saying that my thoughts remain with Quinn. He will be with me always. While 'City of Glass' is sample of a dissertation proposal, expansive and elaborate, 'Ghosts' is sparse in thesis bibliography plot and language.

Auster sets it in a surreal and symbolic New York, where everyone is a colour, and every thing represents another. Private detective Blue is told to monitor the movements of Black, by a heavily disguised man, White. Blue is given an apartment exactly opposite Black, who seems to do almost nothing but read, write and eat. As time passes, the two men become one and the same, the one affirming the other's existence. Of A Proposal? As in bibliography the first part, the two characters only meet each other under different names and disguises, until Blue finally confronts Black. Of A Dissertation? Authorial power is spring, initially held by White, who hires Blue as Peter Stillman does Quinn. Yet by thrusting Blue into an empty room, as it were, and then turning off the light off and locking the door, he is doing as Stillman did with his son, and, later, as he does with Quinn.

Intriguingly, Auster introduces the latter saying everything about Peter Stillman was white. Of A? In the course of bibliography, 'Ghosts' we find out that, paradoxically, White is the same person as Black. By forcing Blue to shadow his every move, effectively putting him in proposal a locked room of existence, as Stillman did to his son. Importantly, both men read 'Walden' by Thoreau - who also appears in 'City of Glass' - about mountain essay his experiment in transcendentalism, in which through self-reliance he sought to find if the individual spirit might thrive in its detachment from the fractured world of mass society. 4 In blending himself and Blue, this is what he is attempting to do (exactly 100 years on) - exiling himself in order to find out of a dissertation where he was 5 - but ultimately injures himself as a result: he literally becomes 'black and blue'. New England? Adapted from an aborted play 'Blackouts', Auster says that 'Ghosts' is dominated by the spirit of Thoreau. Walden Pond in the heart of the city. Sample? 6. The 'fusing' of Black and Blue is the focus of the novel, Auster saying that the or other myths, only way for Blue to have a sense of what is of a dissertation, happening is to be inside Black's mind.

However, although this seems impossible to Blue, he, like Quinn, becomes convinced that anything less than constant surveillance would be no surveillance at all, despite being only one man. From this point on, as he reciprocates his every movement, he is seeing through a glass darkly, but then face to face : it is as though Blue were looking into a mirror, and an essay instead of watching another, he finds that he is also watching himself. In 'Mr Vertigo', it is stated that If you look into someone's face long enough, eventually you're going to proposal feel that you're looking at yourself. How To Projections For A? 7 Blue is in a city of glass where, instead of seeing out, the glass is a mirror and he is forced to look into sample dissertation, his own locked room. Being thus placed, he realises that Little by little, I'm no longer the same. This is spring binder, manifested in his struggle with words that are usually transparent and have never impeded his view, however as they are Black's words and the 'glass' of sample of a dissertation, Black's life, he is forced to change himself. Yet, it becomes so that he knows what Black's actions will be, and when separated from him, he begins to lose the sense of who he is. Thus the more deeply entangled he becomes, the freer he is.

In what seems to be a tangential reference, Auster mentions the detective film 'The Lady of the Lake'. However, significantly in the film, we only binder thesis see the sample of a, hero's face when he looks in my side mountain the mirror, 8 much as it is with Blue. Of A? Indeed, we only truly see Blue through others, for when he meets his fiancée - who he has not seen in years - It is as though some spectre has suddenly materialized, with Blue speaking in a voice that seems strange to him. Essays? Not only is Blue now a ghost, but when he confronts his employer White (who is Black) he feels that the man is not really there and sample dissertation proposal that he is the only person who can see him. Auster confirms both men's ghost status, as Blue questions whether there is really a man who does nothing, who merely sits in his room and writes. Yet he too is that man and a mere ghost of the Oedipus or other greek myths, ghostly Black, who is only a stand-in, a fake, an actor for White, as Blue sees it. As in 'City of Glass', knowledge of being under authorial control leads to the protagonist freeing himself from the 'novel'.

Blue's realisation that he is being watched, observed by sample proposal another in the same way that he has been observing Black and that he has never been free leads to his freedom. Just as Quinn meets Stillman three times, each as a different person, so Blue does with Black, with each talking in riddles. On Nature Chamberlin? Blue says that every man has his double somewhere. I don't see why mine can't be a dead man, so that he is a ghost. Black also talks of ghosts, saying that a writer has no life of dissertation, his own. Even when he's there, he's not really there. As Blue realises that Black can watch him with my eyes closed, he intentionally reasserts his individuality so he can return to a semblance of his former self.

Black believes that Blue is the my side essay, one thing that doesn't change for dissertation him, but also realises that Blue will kill him, to ultimately reassert his identity and individuality. Like 'City of Glass', the novel's narrator, who shows himself to new england essays be of similar age to Auster, leaves us with an open-ended conclusion to of a proposal the book. The final part of the bibliography, triptych, 'The Locked Room', is sample proposal, narrated by an unnamed protagonist, a small-time writer, and tells the how to projections, tale of how he essentially fills the sample dissertation, gap left when his friend when his childhood friend, Fanshawe disappears, presumed dead. Fanshawe had entrusted a cache of thesis, literary work to the narrator, who publishes the works, which are acclaimed as masterpieces. He eventually marries Sophie, a carbon-copy of Auster's wife Siri, and adopts Fanshawe's son.

However Fanshawe writes to sample of a dissertation proposal the narrator, revealing that he is alive, and establishing him as the character who is in control in the novel, having set up his friend to 'take his place'. Fanshawe is the person defining the narrator's identity, as He is. where everything begins for me, . Make Projections? without him I would hardly know who I am, and he is the one who shared my thoughts. Sample Proposal? The immediate similarities between the men are stressed with them being very close in new england appearance and age, and both being writers. Indeed, Fanshawe was a ghost I carried around inside me, when the two are separated. The importance of Fanshawe's cache is great, as it is something hidden from Sophie until his disappearance, and is 'the locked room', the secret and sample dissertation protected side of his identity. The two suitcases containing the of the mountain, notebooks Together. were as heavy as a man. That his work is the dissertation, only trace left of new england, him means that the narrator equates destroying Fanshawe's work and killing him with my own hands. Indeed, Fanshawe's work is very close to of a dissertation Auster's, the bulk of it being three novels, including 'Neverland' and 'Blackouts'.

The former refers to the paradoxical home of Peter Pan, the thesis bibliography, boy who never grew up, while a fantastical city of glass is the home of the child-like Peter Stillman. The latter is the name of the play from sample of a proposal, which 'Ghosts' metamorphosed. As in 'Ghosts', the protagonist questions whether or not a writer has a real life, and the narrator believes he would enjoy pseudonymous writing, to invent a secret identity, as Auster himself had done. Bibliography? In the wake of Fanshawe's letter, names and identity are further explored, with Fanshawe hoping you will always be who you are. With me it's a different story. The fact that Fanshawe has adopted a new name for sample of a dissertation his new life leads to the question of whether this has changed him. This conundrum is complemented by the narrator wishing Fanshawe's son to have his own name, to change him into being his, and not Fanshawe's, son. It is stated that No one can cross the boundary into another - for the simple reason that no one can gain access to himself, despite the fact that Fanshawe was inside me day and night. unknown to me. When Fanshawe, being absent, is supposed to bibliography be only the narrator's pseudonym, he sets out to write Fanshawe's biography, and effectively his autobiography, to disprove this.

This is effectively Fanshawe's autobiography in which he speaks of himself as another in order to tell the story of dissertation proposal, himself. He must make himself absent in order to find himself there. 9 The research involved reveals to my side of the mountain him a lot of unknowns about Fanshawe, as well as himself, but brings him to desire to kill Fanshawe. to track him down and kill him. His quest for Fanshawe literally and of a dissertation figuratively leads him astray as, in Paris, he 'becomes' other people, and Fanshawe becomes anyone but himself - if he's no one. he must be Fanshawe. This situation leads to a head-to-head with one of on nature, these 'Fanshawes', akin to Blue's confrontation with Black, and (like Blue) he survives, seemingly defying fate: I was alive. Dissertation? It did not seem possible that I had been spared.

The novel concludes with the two men finally meeting, with an ostensibly dying Fanshawe handing over the red notebook (the same as in 'City of Glass'?) from his hide-out in a locked room. The narrator reads the notebook, in my side mountain essay which Each sentence erased the sample of a dissertation, sentence before it, each paragraph made the next paragraph impossible. As he tears each page out and throws them away, crumpled, he is freeing himself of Fanshawe and his control, able to how to make financial projections for a business return to the life Fanshawe left for him. The most fascinating progression in 'The Locked Room' is the protagonists's knowledge of their own status. Quinn, Blue and of a the narrator are the primary characters who are caught in spring thesis the novel, a city of sample of a dissertation, glass or locked room that pens them in, constrained by new england essays others' control of them. Dissertation Proposal? Early in 'The Locked Room', it is said No one wants to be part of new england essays, a fiction, and even less so if that is sample dissertation, real. Ultimately, the narrator recognises outside events: The entire story comes down to thesis bibliography what happened at the end, he says. He mentions and is aware of 'City of Glass' and 'Ghosts', saying that these three stories are finally the of a proposal, same story, but each one represents a different stage in my awareness of what it is about. Yet, despite presenting himself here as the trilogy's author, we only have his word for it, while ultimately names and times are irrelevant, while the story is important. In light of this, the fact that the last 'version' of the essays, story is autobiographical shows the sample of a proposal, progression from the teller being a person completely unconnected to the story, to someone who tells their story in the first person, showing their self-cognition. 'The Locked Room' is spring thesis, closer to 'City of Glass' than 'Ghosts', with Quinn being one of the minor but essentially insignificant characters, references to Don Quixote, and Henry Dark and Peter Stillman appearing in different guises in Paris.

Yet Auster is sample of a dissertation, almost a bigger character in the novel than any, being extremely close to both the narrator and Fanshawe. Auster claims that I am neither Fanshawe nor the narrator. Maybe I am both. 10. While Poe, Thoreau and Melville are authors whose work is an influence, Nathaniel Hawthorne's work is the major influence on the trilogy. Of The Essay? 'Fanshawe' is the title of Hawthorne's first novel, which, like Auster's, is semi-autobiographical. Sample Dissertation Proposal? Described by Black in or other greek myths 'Ghosts', his story 'Wakefield' has many parallels with all three parts of the trilogy. It is about a man who randomly walks out on a happy married life for over 20 years only to return. According to Black, he is not sure why he's doing it, but he does it just the same, just like the of a dissertation, protagonists in the trilogy. Like Wakefield, all three leave contended and ostensibly settled lives, and have to fight to thesis return to 'normality'. As the conventions of the detective story are utilised, the novels - and 'City of Glass' in proposal particular - are full of Auster's 'red herrings'. The editor of 'Contemporary Novelists' views the books as full of intellectual puzzles that have little or no relation to a reality beyond the texts themselves.

It is also suggested that the book is too clever for its own good, that Auster engages knotty intellectual issues partly to binder thesis evade more troubling emotional ones. Sample? 11 Yet in his thesis on the trilogy, Chris Pace states that the book must not be interpreted as a series of riddles from which answers must be derived, but that, as Auster says, the books must be a springboard for the imagination. 12 Interestingly, the traditional male domination of the detective yarn is binder, replicated in sample proposal the trilogy. Oedipus Or Other Greek Myths? The books are inherently masculine, with very few female characters appearing. Indeed, these women are either facsimiles of of a dissertation, Auster's wife, Siri Hustvedt, or one-dimensional sex objects, who appear only to immediately disappear. The narrator's status in binder 'The Locked Room' as the teller of sample of a, his and Fanshawe's story offers him more control over the proceedings and of the mountain essay our perception of them than Blue or Quinn, despite the fact that he is nameless. As the trilogy progresses, the protagonist becomes more powerful. Quinn is in conflict with many characters, while by the end, the narrator has only one windmill with which to joust, as Don Quixote would see it.

Auster shows that we the reader inject each book with our understanding and experiences, meaning that ultimately, of sample proposal, all the authors, we, with our 'springboard of imagination', are the most prominent. Pace views the books as changing even day to day, to my side fit the sample of a dissertation, experiences, the mood, and the personality of the reader. Chamberlin? 13 Auster believes no one truly knows himself, and of a dissertation proposal each protagonist uses the identity of others to get closer to finding resolution, as Fanshawe finally does in 'The Locked Room.' Yet ultimately, the nature of the trilogy means that this is merely one interpretation: It's not a mathematical equation to solve. One hope's it's exhaustible, and that you're going to keep thinking about it and keep testing your reaction and come up with new things. How To Make Projections Plan? 14.

Auster, Paul, 'The Invention of Solitude', (Faber and sample proposal Faber, 1998) Auster, Paul, 'Mr Vertigo', (Faber and bibliography Faber, 1995) Auster, Paul, 'The New York Trilogy', (Faber and Faber, 1992) The Compass with the Flickering Rhythm - An Interview with Paul Auster, 'Untitled' web site,, (March 15, 1999) Henderson, Lesley (ed.), 'Contemporary Novelists', Fifth Edition, (St James Press, 1991) Ousby, Ian (ed.), 'The Cambridge Guide to Literature in English', (Cambridge University Press, 1995) Pace, Chris, Escaping from the sample of a dissertation, Locked Room: Overthrowing the spring binder thesis, Tyranny of Artifice in Paul Auster's New York Trilogy, 'Chris Pace's thesis' web site,, (March 15, 1999) Paul Auster: A Brief Biography, 'Paul Auster - Part 3: The Prose Years (1980-1990)' web site,, (March 15, 1999) Walker, John (ed.), 'Halliwell's Film Guide', (Harper Collins, 1992) 1 The Compass with the Flickering Rhythm - An Interview with Paul Auster, 'Untitled' web site,, (March 15, 1999) 2 'The Invention of of a dissertation proposal, Solitude' by Paul Auster, (Faber and Faber, 1988), p.89.

3 'Mr Vertigo' by Paul Auster, (Faber and Faber, 1995), p.49. 4 'The Cambridge Guide to Literature in English', edited by Ian Ousby, (Cambridge University Press, 1995), p. 987. 5 'The Invention Of Solitude' by Paul Auster, (Faber and Faber, 1988), p.16. 6 Paul Auster: A Brief Biography, 'Paul Auster - Part 3: The Prose Years (1980-1990)' web site,, (March 15, 1999) 7 'Mr Vertigo' , op. cit., p.35. 8 'Halliwell's Film Guide', edited by John Walker, (Harper Collins, 1992), p.627. 9 'The Invention of Solitude' by Paul Auster, (Faber and Faber, 1988), p.154.

10 The Compass with the Flickering Rhythm - An Interview with Paul Auster, op. Make Financial Projections For A Plan? cit. 11 'Contemporary Novelists', Fifth Edition, edited by of a Lesley Henderson (St James Press, 1991), pp.63-4.

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