The Book of Illusions

  THE BOOK OF

  ILLUSIONS

  A NOVEL

  PAUL AUSTER

  Man has not one and the same life. He has many lives, placed end to end, and that is the cause of his misery.

  –Chateaubriand

  Contents

  Title Page

  Dedication

  THE BOOK OF ILLUSIONS

  1

  2

  3

  4

  5

  6

  7

  8

  9

  About the Author

  Also by Paul Auster

  Copyright

  THE BOOK OF ILLUSIONS

  1

  EVERYONE THOUGHT HE was deade. When my book about his films was published in 1988, Hector Mann had not been heard from in almost sixty years. Except for a handful of historians and old-time movie buffs, few people seemed to know that he had ever existed. Double or Nothing, the last of the twelve two-reel comedies he made at the end of the silent era, was released on November 23, 1928. Two months later, without saying good-bye to any of his friends or associates, without leaving behind a letter or informing anyone of his plans, he walked out of his rented house on North Orange Drive and was never seen again. His blue DeSoto was parked in the garage; the lease on the property was good for another three months; the rent had been paid in full. There was food in the kitchen, whiskey in the liquor cabinet, and not a single article of Hector’s clothing was missing from the bedroom drawers. According to the Los Angeles Herald Express of January 18, 1929, it looked as though he had stepped out for a short walk and would be returning at any moment. But he didn’t return, and from that point on it was as if Hector Mann had vanished from the face of the earth.

  For several years following his disappearance, various stories and rumors circulated about what had happened to him, but none of these conjectures ever amounted to anything. The most plausible ones—that he had committed suicide or fallen victim to foul play—could neither be proved nor disproved, since no body was ever recovered. Other accounts of Hector’s fate were more imaginative, more hopeful, more in keeping with the romantic implications of such a case. In one, he had returned to his native Argentina and was now the owner of a small provincial circus. In another, he had joined the Communist Party and was working under an assumed name as an organizer among the dairy workers in Utica, New York. In still another, he was riding the rails as a Depression hobo. If Hector had been a bigger star, the stories no doubt would have persisted. He would have lived on in the things that were said about him, gradually turning into one of those symbolic figures who inhabit the nether zones of collective memory, a representative of youth and hope and the devilish twists of fortune. But none of that happened, for the fact was that Hector was only just beginning to make his mark in Hollywood when his career ended. He had come too late to exploit his talents fully, and he hadn’t stayed long enough to leave a lasting impression of who he was or what he could do. A few more years went by, and little by little people stopped thinking about him. By 1932 or 1933, Hector belonged to an extinct universe, and if there were any traces of him left, it was only as a footnote in some obscure book that no one bothered to read anymore. The movies talked now, and the flickering dumb shows of the past were forgotten. No more clowns, no more pantomimists, no more pretty flapper girls dancing to the beat of unheard orchestras. They had been dead for just a few years, but already they felt prehistoric, like creatures who had roamed the earth when men still lived in caves.

  I didn’t give much information about Hector’s life in my book. The Silent World of Hector Mann was a study of his films, not a biography, and whatever small facts I threw in about his offscreen activities came directly from the standard sources: film encyclopedias, memoirs, histories of early Hollywood. I wrote the book because I wanted to share my enthusiasm for Hector’s work. The story of his life was secondary to me, and rather than speculate on what might or might not have happened to him, I stuck to a close reading of the films themselves. Given that he was born in 1900, and given that he had not been seen since 1929, it never would have occurred to me to suggest that Hector Mann was still alive. Dead men don’t crawl out from their graves, and as far as I was concerned, only a dead man could have kept himself hidden for that long.

  The book was published by the University of Pennsylvania Press eleven years ago this past March. Three months later, just after the first reviews had started to appear in the film quarterlies and academic journals, a letter turned up in my mailbox. The envelope was larger and squarer than the ones commonly sold in stores, and because it was made of thick, expensive paper, my initial response was to think there might be a wedding invitation or a birth announcement inside. My name and address were written out across the front in an elegant, curling script. If the writing wasn’t that of a professional calligrapher, it no doubt came from someone who believed in the virtues of graceful penmanship, a person who had been schooled in the old academies of etiquette and social decorum. The stamp was postmarked Albuquerque, New Mexico, but the return address on the back flap showed that the letter had been written somewhere else—assuming that there was such a place, and assuming that the name of the town was real. Top and bottom, the two lines read: Blue Stone Ranch; Tierra del Sueño, New Mexico. I might have smiled when I saw those words, but I can’t remember now. No name was given, and as I opened the envelope to read the message on the card inside, I caught a faint smell of perfume, the subtlest hint of lavender essence.

  Dear Professor Zimmer, the note said. Hector has read your book and would like to meet you. Are you interested in paying us a visit? Yours sincerely, Frieda Spelling (Mrs. Hector Mann).

  I read it six or seven times. Then I put it down, walked to the other end of the room, and came back. When I picked up the letter again, I wasn’t sure if the words would still be there. Or, if they were there, if they would still be the same words. I read it six or seven more times, and then, still not sure of anything, dismissed it as a prank. A moment later, I was filled with doubts, and the next moment after that I began to doubt those doubts. To think one thought meant thinking the opposite thought, and no sooner did that second thought destroy the first thought than a third thought rose up to destroy the second. Not knowing what else to do, I got into my car and drove to the post office. Every address in America was listed in the zip code directory, and if Tierra del Sueño wasn’t there, I could throw away the card and forget all about it. But it was there. I found it in volume one on page 1933, sitting on the line between Tierra Amarilla and Tijeras, a proper town with a post office and its own five-digit number. That didn’t make the letter genuine, of course, but at least it gave it an air of credibility, and by the time I returned home, I knew that I would have to answer it. A letter like that can’t be ignored. Once you’ve read it, you know that if you don’t take the trouble to sit down and write back, you’ll go on thinking about it for the rest of your life.

  I haven’t kept a copy of my answer, but I remember that I wrote it by hand and tried to make it as short as possible, limiting what I said to just a few sentences. Without giving it much thought, I found myself adopting the flat, cryptic style of the letter I had received. I felt less exposed that way, less likely to be taken as a fool by the person who had masterminded the prank—if indeed it was a prank. Give or take a word or two, my response went something like this: Dear Frieda Spelling. Of course I would like to meet Hector Mann. But how can I be sure he’s alive? To the best of my knowledge, he hasn’t been seen in more than half a century. Please provide details. Respectfully yours, David Zimmer.

  We all want to believe in impossible things, I suppose, to persuade ourselves that miracles can happen. Considering that I was the author of the
only book ever written on Hector Mann, it probably made sense that someone would think I’d jump at the chance to believe he was still alive. But I wasn’t in the mood to jump. Or at least I didn’t think I was. My book had been born out of a great sorrow, and now that the book was behind me, the sorrow was still there. Writing about comedy had been no more than a pretext, an odd form of medicine that I had swallowed every day for over a year on the off chance that it would dull the pain inside me. To some extent, it did. But Frieda Spelling (or whoever was posing as Frieda Spelling) couldn’t have known that. She couldn’t have known that on June 7, 1985, just one week short of my tenth wedding anniversary, my wife and two sons had been killed in a plane crash. She might have seen that the book was dedicated to them (For Helen, Todd, and Marco—In Memory), but those names couldn’t have meant anything to her, and even if she had guessed their importance to the author, she couldn’t have known that for him those names stood for everything that had any meaning in life—and that when the thirty-six-year-old Helen and the seven-year-old Todd and the four-year-old Marco had died, most of him had died along with them.

  They had been on their way to Milwaukee to visit Helen’s parents. I had stayed behind in Vermont to correct papers and hand in the final grades for the semester that had just ended. That was my work—professor of comparative literature at Hampton College in Hampton, Vermont—and I had to do it. Normally, we all would have gone together on the twenty-fourth or twenty-fifth, but Helen’s father had just been operated on for a tumor in his leg, and the family consensus was that she and the boys should leave as quickly as possible. This entailed some elaborate, last-minute negotiations with Todd’s school so that he would be allowed to miss the last two weeks of the second grade. The principal was reluctant but understanding, and in the end she gave in. That was one of the things I kept thinking about after the crash. If only she had turned us down, then Todd would have been forced to stay at home with me, and he wouldn’t have been dead. At least one of them would have been spared that way. At least one of them wouldn’t have fallen seven miles through the sky, and I wouldn’t have been left alone in a house that was supposed to have four people in it. There were other things, of course, other contingencies to brood about and torture myself with, and I never seemed to tire of walking down those same dead-end roads. Everything was part of it, every link in the chain of cause and effect was an essential piece of the horror—from the cancer in my father-in-law’s leg to the weather in the Midwest that week to the telephone number of the travel agent who had booked the airline tickets. Worst of all, there was my own insistence on driving them down to Boston so they could be on a direct flight. I hadn’t wanted them to leave from Burlington. That would have meant going to New York on an eighteen-seat prop plane to catch a connecting flight to Milwaukee, and I told Helen that I didn’t like those small planes. They were too dangerous, I said, and I couldn’t stand the idea of letting her and the boys go on one of them without me. So they didn’t—in order to appease my worries. They went on a bigger one, and the terrible thing about it was that I rushed to get them there. The traffic was heavy that morning, and when we finally got to Springfield and hit the Mass Pike, I had to drive well over the speed limit to make it to Logan in time.

  I remember very little of what happened to me that summer. For several months, I lived in a blur of alcoholic grief and self-pity, rarely stirring from the house, rarely bothering to eat or shave or change my clothes. Most of my colleagues were gone until the middle of August, and therefore I didn’t have to put up with many visits, to sit through the agonizing protocols of communal mourning. They meant well, of course, and whenever any of my friends came around, I always invited them in, but their tearful embraces and long, embarrassed silences didn’t help. It was better to be left alone, I found, better to gut out the days in the darkness of my own head. When I wasn’t drunk or sprawled out on the living room sofa watching television, I spent my time wandering around the house. I would visit the boys’ rooms and sit down on the floor, surrounding myself with their things. I wasn’t able to think about them directly or summon them up in any conscious way, but as I put together their puzzles and played with their Lego pieces, building ever more complex and baroque structures, I felt that I was temporarily inhabiting them again—carrying on their little phantom lives for them by repeating the gestures they had made when they still had bodies. I read through Todd’s fairy-tale books and organized his baseball cards. I classified Marco’s stuffed animals according to species, color, and size, changing the system every time I entered the room. Hours vanished in this way, whole days melted into oblivion, and when I couldn’t stomach it anymore, I would go back into the living room and pour myself another drink. On those rare nights when I didn’t pass out on the sofa, I usually slept in Todd’s bed. In my own bed, I always dreamed that Helen was with me, and every time I reached out to take hold of her, I would wake up with a sudden, violent lurch, my hands trembling and my lungs gasping for air, feeling as if I’d been about to drown. I couldn’t go into our bedroom after dark, but I spent a lot of time there during the day, standing inside Helen’s closet and touching her clothes, rearranging her jackets and sweaters, lifting her dresses off their hangers and spreading them out on the floor. Once, I put one of them on, and another time I got into her underwear and made up my face with her makeup. It was a deeply satisfying experience, but after some additional experimentation, I discovered that perfume was even more effective than lipstick and mascara. It seemed to bring her back more vividly, to evoke her presence for longer periods of time. As luck would have it, I had given her a fresh supply of Chanel No. 5 for her birthday in March. By limiting myself to small doses twice a day, I was able to make the bottle last until the end of the summer.

  I took a leave of absence for the fall semester, but rather than go away or look for psychological help, I stayed on in the house and continued to sink. By late September or early October, I was knocking off more than half a bottle of whiskey every night. It kept me from feeling too much, but at the same time it deprived me of any sense of the future, and when a man has nothing to look forward to, he might as well be dead. More than once, I caught myself in the middle of lengthy daydreams about sleeping pills and carbon monoxide gas. I never went far enough to take any action, but whenever I look back on those days now, I understand how close I came to it. The pills were in the medicine cabinet, and I had already taken the bottle off the shelf three or four times; I had already held the loose pills in my hand. If the situation had gone on much longer, I doubt that I would have had the strength to resist.

  That was how things stood for me when Hector Mann unexpectedly walked into my life. I had no idea who he was, had never even stumbled across a reference to his name, but one night just before the start of winter, when the trees had finally gone bare and the first snow was threatening to fall, I happened to see a clip from one of his old films on television, and it made me laugh. That might not sound important, but it was the first time I had laughed at anything since June, and when I felt that unexpected spasm rise up through my chest and begin to rattle around in my lungs, I understood that I hadn’t hit bottom yet, that there was still some piece of me that wanted to go on living. From start to finish, it couldn’t have lasted more than a few seconds. As laughs go, it wasn’t especially loud or sustained, but it took me by surprise, and in that I didn’t struggle against it, and in that I didn’t feel ashamed of myself for having forgotten my unhappiness during those few moments when Hector Mann was on screen, I was forced to conclude that there was something inside me I had not previously imagined, something other than just pure death. I’m not talking about some vague intuition or sentimental yearning for what might have been. I had made an empirical discovery, and it carried all the weight of a mathematical proof. If I had it in me to laugh, then that meant I wasn’t entirely numb. It meant that I hadn’t walled myself off from the world so thoroughly that nothing could get in anymore.

  It must have been a little
past ten o’clock. I was anchored to my usual spot on the sofa, holding a glass of whiskey in one hand and the remote-control gadget in the other, mindlessly surfing channels. I came upon the program a few minutes after it started, but it didn’t take me long to figure out that it was a documentary about silent-film comedians. All the familiar faces were there—Chaplin, Keaton, Lloyd—but they also included some rare footage of comics I had never heard of before, lesser-known figures such as John Bunny, Larry Semon, Lupino Lane, and Raymond Griffith. I followed the gags with a kind of measured detachment, not really paying attention to them, but absorbed enough not to switch to something else. Hector Mann didn’t come on until late in the program, and when he did, they showed only one clip: a two-minute sequence from The Teller’s Tale, which was set in a bank and featured Hector in the role of a hardworking assistant clerk. I can’t explain why it grabbed me, but there he was in his white tropical suit and his thin black mustache, standing at a table and counting out piles of money, and he worked with such furious efficiency, such lightning speed and manic concentration, that I couldn’t turn my eyes away from him. Upstairs, repairmen were installing new planks in the floor of the bank manager’s office. Across the room, a pretty secretary sat at her desk, buffing her nails behind a large typewriter. At first, it looked as though nothing could distract Hector from completing his task in record time. Then, ever so gradually, little streams of sawdust began to fall on his jacket, and not many seconds after that, he finally caught sight of the girl. One element had suddenly become three elements, and from that point on the action bounced among them in a triangular rhythm of work, vanity, and lust: the struggle to go on counting the money, the effort to protect his beloved suit, and the urge to make eye contact with the girl. Every now and then, Hector’s mustache would twitch in consternation, as if to punctuate the proceedings with a faint groan or mumbled aside. It wasn’t slapstick and anarchy so much as character and pace, a smoothly orchestrated mixture of objects, bodies, and minds. Each time Hector lost track of the count, he would have to start over again, and that only inspired him to work twice as fast as before. Each time he turned his head up to the ceiling to see where the dust was coming from, he would do it a split second after the workers had filled in the hole with a new plank. Each time he glanced over at the girl, she would be looking in the wrong direction. And yet, through it all, Hector somehow managed to keep his composure, refusing to allow these petty frustrations to thwart his purpose or puncture his good opinion of himself. It might not have been the most extraordinary bit of comedy I had ever seen, but it pulled me in until I was completely caught up in it, and by the second or third twitch of Hector’s mustache, I was laughing, actually laughing out loud.