NEW YORK —Paul Auster, a prolific, award-winning writer and director known for creative tales and meta-narratives such as “The New York Trilogy” and “4 3 2 1,” died at the age of 77.

The Carol Mann Agency, Auster’s literary representatives, announced his death on Wednesday but did not immediately disclose any other information. Auster was diagnosed with cancer in 2022.

Auster wrote over 30 books, which have been translated into dozens of languages, beginning in the 1970s. He was a longtime fixture in the Brooklyn literary scene but has yet to achieve major commercial success in the United States. However, he was widely admired overseas for his cosmopolitan worldview and erudite and reflective style, and the French government named him a chevalier of the Order of Arts and Letters in 1991. He was also shortlisted for the Booker Prize and elected to the American Academy of Arts and Letters.

Paul Auster, Prolific And Experimental Man Of Letters And Filmmaker, Dies At 77

Auster, dubbed the “dean of American post-modernists” and “the most meta of American meta-fictional writers,” combined history, politics, genre experiments, existential quests, and self-conscious references to writers and writing. “The New York Trilogy,” which featured “City of Glass,” “Ghosts,” and “The Locked Room,” was a postmodern detective story in which names and identities blurred, and one protagonist was a private investigator named Paul Auster. The brief “Travels in the Scriptorium” tells a story within a story as a political prisoner is forced to read a sequence of narratives by other victims, which will eventually include his own.

The author’s longest and most ambitious work of fiction, “4 3 2 1,” was published in 2017 and was a Booker Prize nominee. The 800-page novel is a story of quadraphonic realism in the post-World War II era, following Archibald Isaac Ferguson’s simultaneous adventures from summer camp and high school baseball to student life in New York and Paris during the major uprisings of the late 1960s.

“Identical but different, meaning four boys with the same name parents, the same bodies, and the same genetic material, but each one living in a different house in a different town with his own set of circumstances,” the author writes. “Each one on his own separate path, and yet all of them still the same person, three imaginary versions of himself, and then himself thrown in as Number Four for good measure; the author of the book.”

His other works included the nonfiction compilations “Groundwork” and “Talking to Strangers”; a family memoir, “The Invention of Solitude”; a biography of novelist Stephen Crane; the novels “Leviathan” and “Talking to Strangers”; and the poetry collection “White Space.” In his most recent novel, “Baumgardner,” the titular character is a widowed professor troubled by mortality and wondering “where his mind will be taking him next.”

Auster was such an old-fashioned novelist that he used a typewriter and disliked email and other Internet communication. However, he had an extraordinarily active film career compared to his writing peers.

In the mid-1990s, Auster worked with filmmaker Wayne Wang on the celebrated art-house film “Smoke,” which was an adaptation of Auster’s funny narrative about a Brooklyn tobacco shop and a customer named Paul. The film stars Harvey Keitel, Stockard Channing, and William Hurt, among others, and earned Auster an Independent Spirit Award for Best First Screenplay.

Paul Auster, Prolific And Experimental Man Of Letters And Filmmaker, Dies At 77

Wang and Auster immediately followed up on “Smoke” with “Blue in the Face,” an improvised story set in a Brooklyn cigar shop that starred Keitel and featured appearances by everyone from Lou Reed to Lily Tomlin.

Auster eventually created the films himself. Keitel appeared in Auster’s 1998 love story “Lulu on the Bridge,” which he directed and co-wrote with Vanessa Redgrave. Nine years later, Auster wrote and directed the drama “The Inner Life of Martin Frost,” which starred David Thewlis as an author and Irène Jacob as a lady who has an unusual connection to the story he is writing.

“The four times I’ve worked on movies, I’ve never had a problem talking to actors,” Auster told filmmaker Wim Wenders in a 2017 interview published in Interview magazine. “I was always in excellent harmony with them. After those events, I recognized a connection between creating fiction and acting. The writer does it with words on a page, whereas the actor does so with his body. The effort remains the same.

Auster married fellow author Siri Hustvedt in 1982, and they had a daughter, Sophie, who appears in “The Inner Life of Martin Frost.” He also had a son, Daniel, from his first marriage to the author-translator Lydia Davis. Daniel Auster would suffer from drug addiction and die of an overdose in 2022, shortly after being charged with second-degree manslaughter in the death of his young daughter, Ruby.

Paul Auster never publicly discussed his son’s death, but he had written extensively on parenthood. In “The Invention of Solitude,” published in 1982, he reflected on the “thousands of hours” he’d spent with Daniel in the first three years of his life and wondered if they were worthwhile. “It will be lost forever,” Auster wrote. “All these things will vanish for the boy’s memory forever.”

Paul Auster, Prolific And Experimental Man Of Letters And Filmmaker, Dies At 77

Born in Newark, New Jersey, Paul Benjamin Auster grew up in a middle-class Jewish family caught between his father’s thriftiness and miserliness and his mother’s desire to spend to the point of irresponsibility. He would soon feel like an outcast in his family, turned off by their materialism and inspired by James Joyce’s “Ulysses” or Edgar Allan Poe’s stories rather than the stability of a typical employment.

His ideals would be thoroughly tested. After graduating from Columbia University, Auster toiled for years before finding a publisher and making money from his works. He wrote poetry, translated French literature, worked on an oil tanker, tried to sell a baseball board game, and even considered making money by raising worms in his cellar.

“All along, my only ambition had been to write,” Auster wrote in her brief memoir “Hand to Mouth,” released in 1995. “I knew it as early as 16 or 17 years old, and I never misled myself into believing I could make a life from it. Becoming a writer is not a ‘career decision’ like becoming a doctor or a police officer. You don’t select it; you’re picked, and once you realize that you’re not cut out for anything else, you must be prepared to walk a long, hard road for the rest of your life.”

SOURCE – (AP)