The New York Trilogy

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The New York Trilogy essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The New York Trilogy by Paul Auster. If Virginia Stillman had appeared to be forward, Sophie was even more enthusiastic. She walked into the bedroom, turned on a bedside light and started to remove her blouse. Then she looked out the window, through which it was quite possible that she could see me and my binoculars. She didn’t seem overly alarmed, although she walked over and closed the bedroom curtains. Poe, Edgar Allan. 1975. William Wilson. In The Complete Tales and Poems of Edgar Allan Poe, 626–641. New York: Vintage Books. Original edition, 1839. Washburn, Katharine. 1994. A book at the end of the world: Paul Auster’s “In the country of last things”. The Review of Contemporary Fiction 14 (1): 62–65. Shiloh, Ilana. 2002. Paul Auster and Postmodern Quests: On the Road to Nowhere. Modern American Literature ed. New York: Peter Lang.

Alford, Steven E. 1995a. Mirrors of Madness: Paul Auster’s The New York Trilogy. Accessed 28 Sep 2014. In ogni storia il protagonista è impegnato in una specie di indagine, come se fosse un detective. Ma sono inchieste immerse nell’allucinazione, nel surreale, perfino nell’assurdo, dove tutto è sfocato, sfumato. Ma il senso di mistero e attesa è forte, insistente, serra l’anima. Auster gioca col genere thriller, o forse sarebbe meglio dire col genere giallo, poliziesco, ma è ben altro che gli interessa. City of Glass reads like Raymond Chandler on Derrida, that is, a hard-boiled detective novel seasoned with a healthy dose of postmodernist themes, a novel about main character Daniel Quinn as he walks the streets of uptown New York City. IBS: I’m not suggesting The New York Trilogy is your best book but that, generally speaking, it may be your most important work. What does it mean, then, when someone calls a book "pretentious"? Let's dissect it. What they really seem to be saying is this: "I didn't find meaning in this book, therefore anyone who claims to have found meaning is not telling the truth." And this boils down to the following syllogism: "I am an intelligent reader; therefore anyone who is also an intelligent reader will share my opinion of this book; anyone who doesn't share my opinion, therefore, isn't an intelligent reader." A valid inference, no doubt, but hardly sound. This is because the whole argument hinges on one unavoidable fact: that by using the word "pretentious," one is implicitly assuming that they themselves are intelligent. And everyone knows that only dumb people think they're smart.

City of Glass was adapted in 1994 into a critically acclaimed experimental graphic novel by Paul Karasik and David Mazzucchelli. It was published as City of Glass: A Graphic Mystery in 2004. Let me tell you a little about myself, so I can then move on and start this story at the beginning. Nealon, Jeffrey T. 1999. Work of the Detective, Work of the Writer: Auster’s City of Glass. In Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism, ed. Patricia Merivale and Susan Elizabeth Sweeney. Philadelphia: University of Pennsylvania Press. When I first moved to Manhattan in 1985, I gravitated to Chelsea. This was a natural consequence of the fact that I had stayed in the Chelsea Hotel for two weeks in 1982 and had got familiar with the area.

But perhaps he would be able to make up for the past by plunging forward. By coming to the end, perhaps he could intuit the beginning. Ciudad de cristal (1985): un escritor de novelas policíacas que se apellida Quinn recibe un llamado por equivocación. El escritor usa seudónimo y, extrañamente, quien lo busca lo confunde con otro escritor. Acepta el caso ¿Le servirá su experiencia como creador de un detective? Eso, tal vez, es lo menos importante. Porque cuando Quinn empieza a trabajar en el caso, no hay nada que indique una normalidad en el asunto. Lo cierto es que esta novela atrapa por la forma en que ahoga al personaje en su propia red, en sus obsesiones y en el hecho de “creerse otro”. Muy, muy buena y con varias referencias literarias. Las primeras páginas son las mejores y revelan un estilo fluido y complicado a la vez.

Merivale, Patricia, and Susan Elizabeth Sweeney. 1999. The Game’s Afoot: On the Trail of the Metaphysical Detective Story. In Detecting Texts: The Metaphysical Detective Story From Poe to Postmodernism, ed. Patricia Merivale and Susan Elizabeth Sweeney, 1–24. Philadelphia: University of Pennsylvania Press.

All the words were familiar to me, and yet they seemed to have been put together strangely, as though their final purpose was to cancel each other out. Each sentence erased the sentence before it, each paragraph made the next paragraph impossible.Gaaaah. Upon finishing the piece of smirkingly self-referential garbage that was "City of Glass", I wanted to jump in a showever and scrub away the stinking detritus of your self-congratulatory, hypercerebral, pomo, what a clever-boy-am-I, pseudo-intellectual rubbish from my mind. But not all the perfumes of Araby would be sufficient - they don't make brain bleach strong enough to cleanse the mind of your particular kind of preening, navel-gazing idiocy.