Resumo de New York Trilogy

Paul Auster's "The New York Trilogy" is actually unnerving. Some comic book artists loved having their brains screwed by it so much, they turned part of it into a graphic novel called "City Of Glass".

Needless to say the book is set in New York. If you've read the blurb you will already know that this is three stories in one, all rooted in the detective genre, and if you've read the beginning you'll know that with those first few words the stories threaten to suck you in.

Auster is a fantastic storyteller and while his writing style tends more towards flat than elaborate or bombastic there is something very seductive about it. The stories themselves are complex enough. In one of them he shows up as a character himself, as a smug writer on hand to help solve a case.

Anyway, the last story is the best one and the ending is pretty devastating. But don't skip to the last page. Mostly because it won't make any sense. That's why books are conventionally read in a certain way. And yes, when I was finished I did actually call a friend at three in the morning just to tell her how good it

If you buy this mistaking it for a detective thriller, you could be disappointed. Nor need you worry if the guy gets the girl. It is not a book to be thus categorised, but it is fascinating and compelling nonetheless. Each of the three novellas was originally published separately, and since Nothing Much Happens, they stand alone well enough, but the intention that they work together is apparent when the third part refers directly to the first, "these three stories are finally the same story, but each one represents a different stage in my awareness of what it is about." We also tried to make something of Fanshawe in part 3 representing Black in part 2, and Blue being Quinn of part 1, but even disregarding the difference in times (parts 1 and 3 are contemporary while 2 is set in the 1940s), frustratingly, we couldn't quite make it fit.So it's themes, instead, and ideas. Connecting themes explored from different perspectives run through the trilogy, themes which include the nature of writers and of writing and the need, or otherwise, to supply a story; of identity; of observation and filtering life through the perceived observations of others. There is a very interesting deconstruction of the penning of don Quixote, for instance. While the first part could be said to be concerned with the writer watching, the second with the writer being watched and the third with the writer being hunted, other devices repeat themselves, too.

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