The Music Of Chance
(Paul Auster)
The account begins according to an already semi-traditional invoice: one feels a sting at the errors, the drift of the certainty, confusions of the reference marks which will plunge the existence of the first lucky one in the adventure of its own rediscovery. Money is like the opening of the existential question: how does one make a nest egg? All parsimoniously try to distribute it to the liking of the ones in need so does last? The dice are thrown and it is with a new companion that one must compose: course on Steinbeck, the men moult themselves into mice, the labyrinth of the absurd in a counterpoint of Beckett or the nonsense of inconsistency is forcibly written in a narration which brings it back to the confrontation of reality. To build an interminable wall is to pay the debt of a part of charts, to randomly pay its tribute which was closed again on the absence of a future, like concluding the initial dilemma ironically. The night is closed again, nothing is spread, abolishing the alternative: we here are returned to the foot of the wall in the absence of escape, like retrospective destruction of the choice. It is thus still America which takes again the old European, crossbred anguish of savage resignation post- holocaust and which, resourcing it with the genius of its tradition, delivers this distressed fable to us which awaits only the crash of sheets plugged by the howling headlights of a hazardous car to close itself. Passed, future, point-bars.
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