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Travels in the Scriptorium: the Basics

A review of Travels in the Scriptorium, by Paul Auster, should begin by mentioning a fact: it is not your regular story. Moreover, it is not your regular Paul Auster story. Those familiar with Paul Auster’s work should realize a thing or two by this statement.

For others, let me underline some things. Travels in the Scriptorium is not a story with a typical beginning, narrative evolution, or ending. So far so good. Now, hold tight. Paul Auster’s novella is not a story at all.

Let me repeat that, just so that it sinks in. Travels in the Scriptorium is not a story.

What is it, then, you will ask. Well, let’s see.

Genre, Plot, and Narrative

Oh my where do I begin? Nominally, the plot is simple enough. An old man, Mr Blank, wakes up in a room of some facility. Perhaps it is a hospital, perhaps a prison. He does not remember anything, and he is too reluctant to discover the truth.

Hints along the way paint a certain picture, that doesn’t seem to reveal much about Mr Blank’s predicament. Tellingly, however, it reveals a lot to the reader, which is an achievement in itself. In that sense, we have a great example of a narrative that is far, far stronger than its plot.

When it comes to genre, “a Paul Auster story” is probably the best descriptor. If that sounds too tongue-in-cheek, let’s call it a postmodernist novella and be done with it. For readers familiar with Paul Auster’s work, let me say that it’s the most Kafkaesque of his stories, which is a great thing.

Characters

In a sense it’s the most intriguing part of the novella, though not for the reasons you might think. Indeed, Travels in the Scriptorium is atypical even in that. Its characters exist neither for the plot, nor for the novella itself. Its characters exist only for the reader, and they make sense more for those familiar with Auster’s work.

It’s difficult to say much without revealing what it’s all about, but let’s put it this way: the characters of Travels in the Scriptorium are at the same time an allusion to some other characters and also a metaphor of the process itself.

All this sounds cryptic, I’m sure, but Paul Auster fans will know what I’m talking about. For others, reading this relatively short novella will reveal the matter adequately.

Travels in the Scriptorium: General Impression

Ultimately, Paul Auster’s novella is typical of his work in general. Indeed, the more familiar the reader with the author’s work, the greater the reward awaiting in Travels in the Scriptorium. That is not to say that someone unfamiliar with Auster will not enjoy the novella, only that there would be a layer missing.

At the same time, let’s not fool ourselves. There will be readers that will completely miss the point. It happens with all authors and all works, but I think Paul Auster is particularly… vulnerable to such readings.

However, that is hardly the fault of the author. When all is said and done, Travels in the Scriptorium is a great book, probably the most Kafkaesque example of Paul Auster’s work.

It’s a story about the mind, about creativity (and creation), about reading and writing themselves. It’s a story about fiction and reality. It’s also a story about Paul Auster. Not to mention, it’s a story about you – yes, you.