Report From the Interior Read online

  The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy.

  CONTENTS

  Title Page

  Copyright Notice

  Report from the Interior

  Two Blows to the Head

  Time Capsule

  Album

  Photos

  Photo Credits

  Notes

  Also by Paul Auster

  About the Author

  Copyright

  REPORT FROM THE INTERIOR

  In the beginning, everything was alive. The smallest objects were endowed with beating hearts, and even the clouds had names. Scissors could walk, telephones and teapots were first cousins, eyes and eyeglasses were brothers. The face of the clock was a human face, each pea in your bowl had a different personality, and the grille on the front of your parents’ car was a grinning mouth with many teeth. Pens were airships. Coins were flying saucers. The branches of trees were arms. Stones could think, and God was everywhere.

  There was no problem in believing that the man in the moon was an actual man. You could see his face looking down at you from the night sky, and without question it was the face of a man. Little matter that this man had no body—he was still a man as far as you were concerned, and the possibility that there might be a contradiction in all this never once entered your thoughts. At the same time, it seemed perfectly credible that a cow could jump over the moon. And that a dish could run away with a spoon.

  Your earliest thoughts, remnants of how you lived inside yourself as a small boy. You can remember only some of it, isolated bits and pieces, brief flashes of recognition that surge up in you unexpectedly at random moments—brought on by the smell of something, or the touch of something, or the way the light falls on something in the here and now of adulthood. At least you think you can remember, you believe you remember, but perhaps you are not remembering at all, or remembering only a later remembrance of what you think you thought in that distant time which is all but lost to you now.

  January 3, 2012, exactly one year to the day after you started composing your last book, your now-finished winter journal. It was one thing to write about your body, to catalogue the manifold knocks and pleasures experienced by your physical self, but exploring your mind as you remember it from childhood will no doubt be a more difficult task—perhaps an impossible one. Still, you feel compelled to give it a try. Not because you find yourself a rare or exceptional object of study, but precisely because you don’t, because you think of yourself as anyone, as everyone.

  The only proof you have that your memories are not entirely deceptive is the fact that you still occasionally fall into the old ways of thinking. Vestiges have lingered well into your sixties, the animism of early childhood has not been fully purged from your mind, and each summer, as you lie on your back in the grass, you look up at the drifting clouds and watch them turn into faces, into birds and animals, into states and countries and imaginary kingdoms. The grilles of cars still make you think of teeth, and the corkscrew is still a dancing ballerina. In spite of the outward evidence, you are still who you were, even if you are no longer the same person.

  In thinking about where you want to go with this, you have decided not to cross the boundary of twelve, for after the age of twelve you were no longer a child, adolescence was looming, glimmers of adulthood had already begun to flicker in your brain, and you were transformed into a different kind of being from the small person whose life was a constant plunge into the new, who every day did something for the first time, even several things, or many things, and it is this slow progress from ignorance toward something less than ignorance that concerns you now. Who were you, little man? How did you become a person who could think, and if you could think, where did your thoughts take you? Dig up the old stories, scratch around for whatever you can find, then hold up the shards to the light and have a look at them. Do that. Try to do that.

  The world was of course flat. When someone tried to explain to you that the earth was a sphere, a planet orbiting the sun with eight other planets in something called a solar system, you couldn’t grasp what the older boy was saying. If the earth was round, then everyone below the equator would fall off, since it was inconceivable that a person could live his life upside down. The older boy tried to explain the concept of gravity to you, but that was beyond your grasp as well. You imagined millions of people plunging headlong through the darkness of an infinite, all-devouring night. If the earth was indeed round, you said to yourself, then the only safe place to be was the North Pole.

  No doubt influenced by the cartoons you loved to watch, you thought there was a pole jutting out from the North Pole. Similar to one of those striped, revolving columns that stood in front of barbershops.

  Stars, on the other hand, were inexplicable. Not holes in the sky, not candles, not electric lights, not anything that resembled what you knew. The immensity of the black air overhead, the vastness of the space that stood between you and those small luminosities, was something that resisted all understanding. Benign and beautiful presences hovering in the night, there because they were there and for no other reason. The work of God’s hand, yes, but what in the world had he been thinking?

  Your circumstances at the time were as follows: midcentury America; mother and father; tricycles, bicycles, and wagons; radios and black-and-white televisions; standard-shift cars; two small apartments and then a house in the suburbs; fragile health early on, then normal boyhood strength; public school; a family from the striving middle class; a town of fifteen thousand populated by Protestants, Catholics, and Jews, all white except for a smattering of black people, but no Buddhists, Hindus, or Muslims; a little sister and eight first cousins; comic books; Rootie Kazootie and Pinky Lee; “I Saw Mommy Kissing Santa Claus”; Campbell’s soup, Wonder bread, and canned peas; souped-up cars (hot rods) and cigarettes for twenty-three cents a pack; a little world inside the big world, which was the entire world for you back then, since the big world was not yet visible.

  Armed with a pitchfork, an angry Farmer Gray runs across a cornfield in pursuit of Felix the Cat. Neither one of them can talk, but their actions are accompanied by a steady clang of jaunty, high-speed music, and as you watch the two of them engage in yet another battle of their never-ending war, you are convinced they are real, that these raggedly drawn black-and-white figures are no less alive than you are. They appear every afternoon on a television program called Junior Frolics, hosted by a man named Fred Sayles, who is known to you simply as Uncle Fred, the silver-haired gatekeeper to this land of marvels, and because you understand nothing about the production of animated films, cannot even begin to fathom the process by which drawings are made to move, you figure there must be some sort of alternate universe in which characters like Farmer Gray and Felix the Cat can exist—not as pen scratches dancing across a television screen, but as fully embodied, three-dimensional creatures as large as adults. Logic demands that they be large, since the people who appear on television are always larger than their images on-screen, and logic also demands that they belong to an alternate universe, since the universe you live in is not populated by cartoon characters, much as you might wish it was. One day when you are five years old, your mother announces that she will be taking you and your friend Billy to the studio in Newark where Junior Frolics is broadcast. You will get to see Uncle Fred in person, she tells you, and be a part of the show. All this is exciting to you, inordinately exciting, but even more exciting is the thought that finally, aft
er months of speculation, you will be able to set eyes on Farmer Gray and Felix the Cat. At long last you will discover what they really look like. In your mind, you see the action unfolding on an enormous stage, a stage the size of a football field, as the crotchety old farmer and the wily black cat chase each other back and forth in one of their epic skirmishes. On the appointed day, however, none of it happens as you thought it would. The studio is small, Uncle Fred has makeup on his face, and after you are given a bag of mints to keep you company during the show, you take your seat in the grandstand with Billy and the other children. You look down at what should be a stage, but which in fact is nothing more than the concrete floor of the studio, and what you see there is a television set. Not even a special television set, but one no bigger or smaller than the set you have at home. The farmer and the cat are nowhere in the vicinity. After Uncle Fred welcomes the audience to the show, he introduces the first cartoon. The television comes on, and there are Farmer Gray and Felix the Cat, bouncing around in the same way they always have, still trapped inside the box, still as small as they ever were. You are thoroughly confused. What error have you made? you ask yourself. Where has your thinking gone wrong? The real is so defiantly at odds with the imagined, you can’t help feeling that a nasty trick has been played on you. Stunned with disappointment, you can barely bring yourself to look at the show. Afterward, walking back to the car with Billy and your mother, you toss away the mints in disgust.

  Grass and trees, insects and birds, small animals, and the sounds of those animals as their invisible bodies thrashed through the surrounding bushes. You were five and a half when your family left the cramped garden apartment in Union and installed itself in the old white house on Irving Avenue in South Orange. Not a big house, but the first house your parents had ever lived in, which made it your first house as well, and even though the interior was not spacious, the yard behind the house seemed vast to you, for in fact it was two yards, the first one a small grassy area directly behind the house, bordered by your mother’s crescent-shaped flower garden, and then, because a white wooden garage stood just beyond the flowers, bisecting the property into independent terrains, there was a second yard behind it, the back backyard, which was wilder and bigger than the front backyard, a secluded realm in which you conducted your most intense investigations into the flora and fauna of your new kingdom. The only sign of man back there was your father’s vegetable garden, which was essentially a tomato garden, planted not long after your family moved into the house in 1952, and every year for the twenty-six and a half years that remained of his life, your father spent his summers cultivating tomatoes, the reddest, plumpest New Jersey tomatoes anyone had ever seen, baskets overflowing with tomatoes every August, so many tomatoes that he would have to give them away before they went bad. Your father’s garden, running along a side of the garage in the back backyard. His patch of ground, but your world—and there you lived until you were twelve.

  Robins, finches, blue jays, orioles, scarlet tanagers, crows, sparrows, wrens, cardinals, blackbirds, and an occasional bluebird. Birds were no less strange to you than stars, and because their true home was in the air, you felt that birds and stars belonged to the same family. The incomprehensible gift of being able to fly, not to mention the multitude of bright and dull colors, fit subjects for study and observation, but what intrigued you most about them were the sounds they made, a different language spoken by each kind of bird, whether tuneful songs or harsh, abrasive cries, and early on you were convinced that they were talking to one another, that these sounds were articulated words of a special bird language, and just as there were human beings of different colors who spoke an infinite number of languages, so too with the airborne creatures who sometimes hopped around on the grass in your back backyard, each robin talking to his fellow robins in a language with its own vocabulary and grammatical rules, as comprehensible to them as English was to you.

  In the summer: splitting a blade of grass down the middle and whistling through it; capturing fireflies at night and walking around with your magic, glowing jar. In the fall: sticking the pods that fell from the maple trees onto your nose; picking up acorns from the ground and throwing them as far as you could—deep into the bushes and out of sight. Acorns were delicacies coveted by the squirrels, and since squirrels were the animals you admired most—their speed! their death-defying jumps through the branches of the oaks overhead!—you watched them carefully as they dug little holes and buried acorns in the ground. Your mother told you they were saving the acorns for the lean months of winter, but the truth was that not once did you ever see a squirrel dig up an acorn in winter. You concluded that they dug holes for the pure pleasure of digging, that they were mad for digging and simply couldn’t stop themselves.

  Until you were five or six, perhaps even seven, you thought the words human being were pronounced human bean. You found it mystifying that humanity should be represented by such a small, common vegetable, but somehow, twisting around your thoughts to accommodate this misunderstanding, you decided that the very smallness of the bean was what made it significant, that we all start out in our mother’s womb no larger than a bean, and therefore the bean was the truest, most powerful symbol of life itself.

  The God who was everywhere and reigned over everything was not a force of goodness or love but of fear. God was guilt. God was the commander of the celestial mind police, the unseen, all-powerful one who could invade your head and listen to your thoughts, who could hear you talking to yourself and translate the silence into words. God was always watching, always listening, and therefore you had to be on your best behavior at all times. If not, horrendous punishments would come blasting down upon you, unspeakable torments, incarceration in the darkest dungeon, condemned to live on bread and water for the rest of your days. By the time you were old enough to go to school, you learned that any act of rebellion would be crushed. You watched your friends undermine the rules with cunning and brilliance, invent new and ever more devious forms of mayhem behind the backs of the teachers and continually get away with it, whereas you, whenever you succumbed to temptation and participated in these antics, were always caught and punished. Without fail. No talent for mischief, alas, and as you imagined your angry God mocking you with a burst of contemptuous laughter, you realized that you had to be good—or else.

  Six years old. Standing in your room one Saturday morning, having just dressed yourself and tied your shoes (such a big boy now, such a capable boy), all ready for action, about to go downstairs and begin the day, and as you stood there in the light of the early spring morning, you were engulfed by a feeling of happiness, an ecstatic, unbridled sense of well-being and joy, and an instant later you said to yourself: There is nothing better than being six years old, six is far and away the best age anyone can be. You remember thinking this as clearly as you remember what you did three seconds ago, it is still blazing inside you fifty-nine years after that morning, undiminished in its clarity, as bright as any one of the thousands or millions or tens of millions of memories you have managed to retain. What had happened to cause such an overpowering feeling? Impossible to know, but you suspect it had something to do with the birth of self-consciousness, that thing that happens to children at around the age of six, when the inner voice awakens and the ability to think a thought and tell yourself you are thinking that thought begins. Our lives enter a new dimension at that point, for that is the moment when we acquire the ability to tell our stories to ourselves, to begin the uninterrupted narrative that continues until the day we die. Until that morning, you just were. Now you knew that you were. You could think about being alive, and once you could do that, you could fully savor the fact of your own existence, which is to say, you could tell yourself how good it was to be alive.

  1953. Still six years old, some days or weeks after that transcendent illumination, another turning point in your inner progress, which happened to take place in a movie theater somewhere in New Jersey. You had been to the movies just t
wo or three times before that, in each case an animated film for children (Pinocchio and Cinderella spring to mind), but films with real people in them had been available to you only on television, principally low-budget Westerns from the thirties and forties, Hopalong Cassidy, Gabby Hayes, Buster Crabbe, and Al “Fuzzy” St. John, clunky old shoot-’em-ups in which the heroes wore white hats and the villains had black mustaches, all of which you thoroughly enjoyed and believed in with fervent conviction. Then, at some point during the year you turned six, you were taken by someone to a film that was shown at night—no doubt your parents, although you have no memory of them being there. It was your first movie experience that was not a Saturday matinee, not a Disney cartoon, not an antique black-and-white Western—but a new film in color that had been made for grown-ups. You remember the immensity of the crowded theater, the spookiness of sitting in the dark when the lights went out, a feeling of anticipation and unease, as if you were both there and not there at the same time, no longer inside your own body, in the way one disappears from oneself in the grip of a dream. The film was The War of the Worlds, based on the novel by H. G. Wells, lauded at the time as a breakthrough work in the realm of special effects—more elaborate, more convincing, more advanced than any film that had come before it. So you have read in recent years, but you knew nothing about that in 1953, you were merely a six-year-old boy watching a battalion of Martians invade the earth, and with the largest of large screens looming before you, the colors felt more vivid than any colors you had seen before, so lustrous, so clear, so intense that your eyes ached. Stone-round metal spaceships landed out of the night sky, one by one the lids of these flying machines would open, and slowly a Martian would emerge from within, a preternaturally tall insect-like figure with stick arms and eerily long fingers. The Martian would fix his gaze on an earthling, zero in on him with his grotesque, bulbous eyes, and an instant later there would be a flash of light. Seconds after that, the earthling would be gone. Obliterated, dematerialized, reduced to a shadow on the ground, and then the shadow would vanish as well, as if that person had never been there, had never even been alive. Oddly enough, you don’t remember being scared. Transfixed is probably the word that best captures what was happening to you, a sense of awe, as if the spectacle had hypnotized you into a state of numbed rapture. Then something terrible happened, something far more terrible than the deaths or obliterations of the soldiers who had tried to kill the Martians with their useless weapons. Perhaps these military men had been wrong to assume the invaders had come with hostile intentions, perhaps the Martians were simply defending themselves as any other creatures would if they found themselves under attack. You were willing to grant them the benefit of the doubt, in any case, for it seemed wrong to you that the humans should have allowed their fear of the unknown to turn so quickly into violence. Then came the man of peace. He was the father of the leading lady, the young and beautiful girlfriend or wife of the leading man, and this father was a pastor or minister of some kind, a man of God, and in a calm and soothing voice he counseled those around him to approach the aliens with kindness and friendship, to come to them with a love of God in their hearts. To prove his point, the brave pastor-father started walking toward one of the ships, holding up a Bible in one hand and a cross in the other, telling the Martians they had nothing to fear, that we of the earth wanted to live in harmony with everyone in the universe. His mouth was trembling with emotion, his eyes were lit up with the power of his faith, and then, as he came within a few feet of the ship, the lid opened, a stick-like Martian appeared, and before the pastor-father could take another step, there was a flash of light, and the bearer of the holy word was turned into a shadow. Soon after that, not even a shadow—turned into nothing at all. God, the all-powerful one, had no power. In the face of evil, God was as helpless as the most helpless man, and those who believed in him were doomed. Such was the lesson you learned that night from The War of the Worlds. It was a jolt you have never fully recovered from.