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The New York Trilogy

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In three variants on the classic detective story, Paul Auster makes the well-traversed terrain of New York city his own, as it becomes a strange, compelling landscape in which identities merge or fade and questions serve only to further obscure the truth.'

One night, soon after I moved in, I was just about to go to bed, when the phone rang. The person on the other end of the line asked, “Paul Auster?” The name wasn’t familiar to me. I responded, “No, Marvin Graye.” In his role as hired detective (quite an ironic role since Quinn is a fiction writer and has zero experience as a detective), he goes to Grand Central Station to locate a man by the name of Peter Stillman, the man he will have to tail. This is what we read after Quinn spots his man, "At that moment Quinn allowed himself a glance to Stillman's right, surveying the rest of the crowd to make doubly sure he made no mistakes. What happened then defined explanation. Directly behind Stillman, heaving into view just inches behind his right shoulder, another man stopped . . . His face was the exact twin of Stillman's." ---------- The double, the original and the copy, occupies the postmodernists on a number of levels, including a double reading of any work of literature. Much technical language is employed, but the general idea is we should read a work of fiction the first time through in the conventional, traditional way, enjoying the characters and the story. IBS: It is innovative. Very much so, and, for one reason or another, what’s new about it concurs with the ideas that emerged in French theory and hit the literary scene round about the time you published The New York Trilogy. Ancora Harvey Keitel, qui insieme a Mira Sorvino, in “Lulu on the Bridge”, scritto e diretto da Paul Auster, 1998.Over the years, I’ve been intensely interested in the artificiality of books as well. I mean, who’s kidding whom, after all. We know when we open up a book of fiction that we’re reading something that is imaginary, and I’ve always been interested in exploiting that fact, using it, making it part of the work itself. Not in some dry, academic, metafictional way, but simply as an organic part of the written word." It is astounding to think that the author of the literarymasterpiece that is In Cold Blood is the same one who gifted the world Breakfast at Tiffany's. I have this loose policy that whenever I'm reading a book of fiction, I also read something non-fiction; and in this particular instance, "City of Glass" was counterbalanced by David Hofstadter’s Gödel, Escher, Bach.

Rushdie, though, is sceptical: "I'm not sure if I agree that Paul's technique has changed that much. There is always a strong element of fantasy in his stories. In the early works it's probably more elliptical than fantastical, but just look at Lulu on the Bridge , for example, which has a strong element of fantasy."It seems like most successful books about New Yorkchronicle stories that involve the publishing industry. I think this was my first encounter with Paul Auster, a man who I met through the cult of the 1001 books to read before you die list. Prior to that I was vaguely aware of Auster and his peculiar brand of love/loath inciting literature which had friends alternatively raging or swooning, but had never bothered my arse to go and see what all the fuss was about. And yet, upon a second reading, the book suddenly feels just as ridiculous as the mid-1980swerelike in New York—which is the exact time frame that the character dwells in.

IBS: Even so, you experimented with literary convention, opened new possibilities in fiction, explored ideas. These early books, especially The New York Trilogy, raised very important questions about truth, about language, about being in the world. They prompt reflection about issues that were absolutely pivotal in contemporary literary theory. The postmodernist heart of the trilogy’s obsession with identity and legitimacy extends even beyond the book’s publication. In 2004, City of Glass was transformed into an experimental graphic novel by Paul Karasik and David Mazzucchelli under the title City of Glass: A Graphic Mystery in 2004. Even more to the point, perhaps, was the 2006 reissue adorned with magnificently lurid cover art in the style of classic 1940s pulp detective magazine covers. Certainly, it was no mere coincidence that the cover art was the work of another member of the postmodern vanguard: Art Spiegelman, the creator of the revolutionary comic book Maus. Update this section! In March 2006, published as text with illustrations by Art Spiegelman and an Introduction by Luc/Lucy Sante - ISBN 9780143039839Based on that premise, the 2003 novel The Devil Wears Prada would likely represent the vast number of fashion students that land in New York in the hopes of making it to Fashion Week. They, indeed, are just as emblematic to the city as, say, New York Times reporters or Upper East Side retirees living in brownstones with driveways. IBS: Both The Invention of Solitude and The New York Trilogy have captivated audiences all over the world. My students absolutely love them. I taught them again (probably for the tenth time) last week and after the lecture one of my students came up to me and asked me to give you this letter. It says that your work has changed his life and now he wants to become a writer! urn:lcp:newyorktrilogy0000aust:epub:88862c81-91ed-406a-8673-656ef0e6841a Foldoutcount 0 Grant_report Arcadia #4281 Identifier newyorktrilogy0000aust Identifier-ark ark:/13960/t1qg7ph6z Invoice 2089 Isbn 0571149251

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