The New York Trilogy
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| The New York Trilogy | |
| Author | Paul Auster |
|---|---|
| Country | United States |
| Language | English |
| Genre(s) | Mystery novel |
| Publisher | Faber & Faber |
| Publication date | 1987 |
| Media type | Print (Hardback & Paperback) |
| Pages | 478 pp (hardback edition) |
| ISBN | ISBN 0-571-14925-1 (hardback edition) |
| Preceded by | The Invention of Solitude |
| Followed by | In the Country of Last Things |
The New York Trilogy is a series of novels by Paul Auster. Originally published sequentially as City of Glass (1985), Ghosts (1986) and The Locked Room (1986), it has since also been collected into a single volume.
Contents |
[edit] Plot introduction
Ostensibly presented as detective fiction, the stories of The New York Trilogy have been described as "meta-detective-fiction"; "anti-detective fiction"; "mysteries about mysteries"; a "strangely humorous working of the detective novel"; "very soft-boiled"; a "metamystery"; "glassy little jigsaws"; a "mixture between the detective story and the nouveau roman". This classifies Paul Auster as a postmodern writer whose writings have been influenced by the 'classical literary movement' of American postmodernism through the 60s and 70s[citation needed]. However, there are "a certain coherence in the narrative discourse, a neo-realistic approach and showing a responsibility for social and moral aspects going beyond mere metafictional and subversive elements", which distinguish him from a 'traditional' postmodern writer. The New York Trilogy is a particular form of postmodern detective fiction which still uses well-known elements of the detective novel (e.g. the classical and the hard-boiled detective novel), but also creates a new form that links "the traditional features of the genre with the experimental, metafictional and ironic features of postmodernism".
A 2006 reissue by Penguin Books is fronted by new pulp magazine-style covers by comic book illustrator Art Spiegelman.
[edit] City of Glass
The first story, City of Glass, features a writer turned private detective descending into madness. It explores layers of identity and reality: Paul Auster the writer of the novel; "the author" who reports the events as reality; "Paul Auster the writer", a character in the story; "Paul Auster the detective", who may or may not exist in the novel; Daniel Quinn, initials.
[edit] Ghosts
The second story, Ghosts, is about a private eye called Blue who is investigating a man named Black for a client named White. Black and White turn out to be the same person, a writer who is writing a story about Blue watching him.
[edit] The Locked Room
The Locked Room is the story of a writer who lacks the creativity to produce fiction. Fanshawe[1], his childhood friend has produced creative work, and when he disappears the writer publishes his work and replaces him in his family. While trying to deal with their relationship, he discovers his creative gift, and it emerges that he is the author of the three stories of the trilogy. The title is a reference to a "locked room mystery", a popular form of early detective fiction.
[edit] Adaptations
City of Glass was adapted in 1994 into a critically acclaimed experimental graphic novel by Paul Karasik and David Mazzucchelli, which was subsequently published as City of Glass: The Graphic Novel in 2004.
[edit] Allusions and references to other works
City of Glass is referenced in the 2001 video game Metal Gear Solid 2: Sons of Liberty, which contains a character named Peter Stillman; the reference has been further confirmed by the game's early design documentation, that revealed other characters named after Quinn and his aliases, which were not included in the final version of the game. The references are thematically appropriate, as the game also exploited metafictional issues in questioning the relationship between the player of a video game and the protagonist of the game itself.
[edit] Footnotes
- ^ Reference to Nathaniel Hawthorne's novel Fanshawe' - Heiko Jakubzik: Paul Auster und die Klassiker der American Renaissance. Dissertation, Universität Heidelberg 1999, p. 7 (online text)
