history American space Reception "Over the past twenty-five years," opined Michael Dirda in The New York Review of Books in 2008, "Paul Auster has established one of the most distinctive niches in contemporary literature." Dirda also has extolled his loaded virtues in The Washington Post: Ever since City of Glass, the first volume of his New York Trilogy, Auster has perfected a limpid, confessional style, then used it to set disoriented heroes in a seemingly familiar world gradually suffused with mounting uneasiness, vague menace and possible hallucination. His plots – drawing on elements from suspense stories, existential récit, and autobiography – keep readers turning the pages, but sometimes end by leaving them uncertain about what they've just been through. Writing about Auster's most recent novel, 4 3 2 1, Booklist critic Donna Seaman remarked:Auster has been turning readers' heads for three decades, bending the conventions of storytelling, blurring the line between fiction and autobiography, infusing novels with literary and cinematic allusions, and calling attention to the art of storytelling itself, not with cool, intellectual remove, but rather with wonder, gratitude, daring, and sly humor. ... Auster's fiction is rife with cosmic riddles and rich in emotional complexity. He now presents his most capacious, demanding, eventful, suspenseful, erotic, structurally audacious, funny, and soulful novel to date. ... Auster is conducting a grand experiment, not only in storytelling, but also in the endless nature-versus-nurture debate, the perpetual dance between inheritance and free will, intention and chance, dreams and fate. This elaborate investigation into the big what-if is also a mesmerizing dramatization of the multitude of clashing selves we each harbor within. ... A paean to youth, desire, books, creativity, and unpredictability, it is a four-faceted bildungsroman and an ars poetica, in which Auster elucidates his devotion to literature and art. He writes, 'To combine the strange with the familiar: that was what Ferguson aspired to, to observe the world as closely as the most dedicated realist and yet to create a way of seeing the world through a different, slightly distorting lens.' Auster achieves this and much more in his virtuoso, magnanimous, and ravishing opus. The English critic James Wood, however, offered Auster little praise, criticizing his "Clichés, borrowed language, bourgeois bêtises... intricately bound up with modern and postmodern literature"; he drew a distinction between Auster- "probably America's best-known postmodern novelist"- and "Beckett, Nabokov, Richard Yates, Thomas Bernhard, Muriel Spark, Don DeLillo,