Paul Auster¡¦s The Invention of Solitude is not merely an autobiography, but an attempt to render such a genre to challenge writing itself by trying to write what is of no possibility to be written. In addition, Auster further adds elements of photography in The Invention of Solitude, which on the one hand enhance the genre itself (as an autobiography with photos attached as solid evidences to the written words), and on the other hand, by doing so, the author as a matter of fact deconstructs everything he has been trying to construct. By adding photographs and descriptions of the photographs very consciously, he actually, beyond the ostensible purpose of trying to lend credibility to the autobiographical work, tries to challenge the solidity of such work. Lots of researches have been done on Paul Auster, for whom has already recognized world-widely as an important contemporary American writer, most of them focus on his renowned New York Trilogy (1987),The Music of Chance (1990), or The Brooklyn Follys (2005), while little researches have been done to The Invention of Solitude¡V¡Voften referred to as a memoir of Auster. The book is structured with ¡§Portrait of an Invisible Man¡¨ and ¡§The Book of Memory;¡¨ the former is written right after the sudden death of the author¡¦s father Samuel Auster and the latter is Auster¡¦s own account on matters that later have become his re-occurrent themes throughout his works. I study the utilization of involving photographs in fictional autobiography by looking at the two photographs Paul Auster has reproduced in The Invention of Solitude. Namely, how photography and fiction put together to ¡§renew¡¨ each other (Louvel 31). In chapter one I discuss autobiography and photography, the intertextuality between photographs and texts, and the selection of the two photographs in The Invention of Solitude (including different arrangements of the two photographs in various editions). In chapter two, I mainly focus on Walter Benjamin and Roland Barthes¡¦ reading on photographs; I aim to conclude that each of them talks about one particular essence of photography respectively only with different terms¡V¡Vas aura and punctum¡V¡Vthe endeavor is to illustrate and attest to a certain and unique quality of human that can never be portrayed any how and by any means. Auster¡¦s usage of putting together the words and the photos is also a means to pursuit the same untraceable human quality; he testifies the unseen by presenting something to be seen. The Invention of Solitude requires reader to treat it with the way of reading photographs and pictures; a pictorial reading of words is of necessity in tackling the work, just as in Liliane Louvel¡¦s words, to treat ¡§the image as a means to study fiction through the lens of what I call the ¡¥pictorial third¡¦¡¨ (31). In chapter three, I delve into the anxiety and hunger for portrayal, linking which to the act of writing that functions as a healing process for the writer. I then concentrate on the text, demonstrating how this text itself can possibly be decoded with ways analyzing a picture. In its form and way of writing, the composition of The Invention of Solitude is just like the early procedure of long exposure in taking photographs, the distance and aura have both remained through the writing and the given photographs. In addition, the text is far more than simply combination of words, each word has been rendered as if an element of photography; that is, words can be read with multiple layers of meanings that are all linked with photographs. And I would explore this point through the reading of ¡§room¡¨ in the book. Besides, I¡¦ve involved Susan Sontag, Henri Van Lier, John Berger, Edward W. Said and Thierry de Duve in the three chapters, serving to converse with my argument. Chapter four includes the film Smoke as the subject, the film not only contains photographs as a heavy ingredient and one of the major themes; what¡¦s more, the sequence of weighting smoke also best serves as the footnote, penetrating Benjamin, Barthes and Auster.