The concept of Tikkun Olam refers to the notion that Jews have a responsibility to use their influence in politics and charitable work to create the world a more fair, pleasant, tolerant, and adequate place. Jewish theology’s fundamental, age-old tenet, that humans are in charge of finishing God’s creation and making the world better, connects with the concept of Tikkun Olam. It additionally makes extensive use of biblical and prophetic ideas of justice and compassion that emphasize human ability to bring them about. In general, it is feasible to emphasize a specific example of how Tikkun Olam does not work in City of Glass. For instance, the idea of making the world pleasant for everyone is not correlated with the book’s notion of not being able to come to a resolution. Moreover, the author highlights the concepts of using borrowed language to create a level of irony.
Quinn is considered to be a father, a partner, and an author, which together constitute his identity. In fact, the narrative starts with a variant of Daniel Quinn who seems listless, forlorn, and without direction following the deaths of his wife and child from an unspecified reason (Auster 3). This demonstrates how identity can be destroyed completely if a person loses these fundamental aspects of who they are. When Quinn starts getting calls from Virginia Stillman, he is given the chance to adopt a new and separate persona (Auster 12). Paul Auster provided a way for him to alter who he was and served as a diversion from his actual life and inner identification. The idea that Daniel Quinn has several personal identities is established instantly. Lacan’s theory is connected to the Auster’s manner of working with Quinn since Lacan mainly stated that people are represented by a variety of individuals and the society cannot be a solely unified entity. In this case, Auster decided to ensure Quinn has a combination of personalities and identities, which corresponds to the Lacan’s idea that people are not consolidated.
Work Cited
Auster, Paul. City of Glass. Avon Books, 1994.