52 pages • 1-hour read
Paul AusterA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of death.
The moon is the novel’s primary motif for The Search for Harmony in a Chaotic World, functioning as Fogg’s method of finding meaning in the world. Whenever he is lost, he looks to the moon to reassure himself of the viability of his optimistic worldview. The image of the moon is evoked in both the title and the very first line of the novel as the narrator-Fogg explains that his story begins in the same year that saw the Apollo 11 moon landing. Because the moon landing represented humanity’s success at reaching its furthest limits in the universe at that point, Fogg comes to see the moon itself as a representation of the limits of his personal ambition. Auster explicates this idea in Chapter 3 when Fogg has dinner in a restaurant called Moon Palace and opens a fortune cookie that reads, “The sun is the past, the earth is the present, the moon is the future” (97).
The novel’s frequent references to the moon reinforce Fogg’s sense that everything in the universe is connected and is directed toward hopeful outcomes. When his Uncle Victor dies, Fogg finds consolation in the fact that the officer who helped him to find out what happened to Victor has the same name as the famous Apollo 11 astronaut, Neil Armstrong. Fogg also turns to the Moon Palace restaurant in times of trouble and of celebration. Later, Effing’s story includes the factoid that surveyors use the moon to fix their position on Earth, and in his mind, the moon thus becomes necessary for finding one’s place in the world. The ending of the novel likewise lingers on the image of the moon as Fogg looks skyward after he has journeyed alone to the Pacific Coast in the wake of losing everything from his life in New York. In this final moment, the moon shines as the sole light in the dark, giving Fogg a renewed sense of direction in a cold, indifferent world.
Manuscripts and stories become a motif for the act of Bargaining with Reality to Reinvent the Self. Consumed by his own quest to understand himself via the narrative of his life, Fogg even goes by the nickname “M.S.,” which is a common abbreviation for “manuscript.” As Uncle Victor comments, “Every man is the author of his own life […] The book you are writing is not yet finished. Therefore, it’s a manuscript” (7). To further cement these ideas, the novel presents two other manuscripts that are designed to be compared against Fogg’s own life. The first is the autobiography that Effing tasks Fogg with compiling. In contrast to Fogg, who is still writing his life’s story, Effing is concerned with recording his past experiences for posterity, believing that they deserve a wide audience. As Fogg listens to Effing’s stories, he judges them to be too outlandish to be fully true, but he accepts them for the emotional power that they convey. Effing’s manuscript, whether true or not, resonates with Fogg’s personal experiences, but ironically, the manuscript is rejected when Fogg submits Effing’s obituary and feature article to a magazine, as the accounts are considered to be too insubstantial to be worthy of their readers’ attention.
The other manuscript is Solomon’s novel, Kepler’s Blood. Whereas Effing uses his manuscript to paint himself as a larger-than-life figure, Solomon uses his own novel to articulate the impact of his father’s absence on his life, effectively exorcising those feelings and accepting himself in a radical way. Unlike Effing, Solomon is uninterested in recording his thoughts for posterity. Fogg himself finds Solomon’s novel to be a compelling glimpse into Solomon’s psychology. The fact that he abandons fiction writing to explore adjacent topics in historical scholarship suggests that Solomon has moved away from his concerns with his father’s impact on his identity. Collectively, Effing and Solomon’s respective manuscripts and life perspectives offer Fogg two vastly different models for writing his own story.
Victor’s tweed suit represents Fogg’s flawed sense of personal meaning. Though the suit only makes a brief appearance, featuring only in Chapter 1, it plays an important role by emphasizing Fogg’s attachment to Uncle Victor. After uncle and nephew part ways, Fogg wears Victor’s suit every day for the first years of his college life, asserting that this spiritual link to Victor gives him comfort and allows him to feel as though they are still together. In retrospect, the older Fogg narrating the story feels embarrassed about the naivety inherent in this habit. As he remarks, “Looking back on it now, I realize what a curious figure I must have cut: gaunt, disheveled, intense, a young man clearly out of step with the rest of the world” (15).
The suit’s meaning changes once it starts disintegrating, and Fogg chooses to abandon it altogether in his junior year. The narrative suggests that Fogg’s naïve insistence on wearing the suit every day prevented him from seeing what it would take to maintain his link to Victor for as long as possible. This drives the idea that Fogg prizes the objects that resonate with him only at a given time. Once he has worn out their use, he discards them.



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