- Series: New York Trilogy (Book 1)
- Paperback: 208 pages
- Publisher: Penguin Books (April 7, 1987)
- Language: English
- ISBN-10: 0140097317
- ISBN-13: 978-0140097313
- Product Dimensions: 5.1 x 0.5 x 7.7 inches
- Shipping Weight: 5.6 ounces (View shipping rates and policies)
- Average Customer Review: 97 customer reviews
- Amazon Best Sellers Rank: #76,031 in Books (See Top 100 in Books)
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City of Glass (New York Trilogy) Paperback – April 7, 1987
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From Publishers Weekly
When a stranger calls on Daniel Quinn's phone asking to speak to Paul Auster (supposedly a detective), Quinn claims to be Auster and soon is drawn into a case involving a man who fears his father is trying to kill him. "An impressive if not major work," PW concluded.
Copyright 1987 Reed Business Information, Inc.
From Library Journal
Daniel Quinn, author of a series of de tective pot-boilers, accepts an assign ment as a real private investigator from a man who dials his phone number by mistake. His mission: to keep an eye on the man's father, a former linguistics professor who has spent time in jail for bizarre childrearing experiments. Quinn quickly loses track of both his client and the suspect, as well as his own apartment and belongings, and fi nally his identity. This metafictional mystery, reminiscent of Robbe-Gril let's anti-novel The Erasers, challenges conventional notions of character and plot. However, unless the remaining volumes of this projected trilogy pro vide more depth and substance, Aus ter's previous book, The Invention of Solitude, will probably remain the best introduction to his work. Edward B. St. John, Loyola Marymount Univ. Lib., Los Angeles
Copyright 1985 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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Top customer reviews
This novel brings back true literature in a culture devoid of anything that smacks of indepth thinking on the part of the reader. Allusions, allegory, symbol, puns, linguistic twists, irony, shifting narrators...it's all here. The play on initials between Don Quixote and Danial Quinn is exquisite; the continual movement of Stillman and the paradox of his name speaks volumes about the craft of the author; the quick syntax of detective fiction when Quinn is Auster is beautifully reminiscent of Phillip Roth; the Socratic philosophical dialogue between Stillman and Auster makes me smile with joy that an author encapsulated the form so subtlely and let the audience 'get it' on their own.
As a reader, the beauty of the style and form shines through without me having to be told by the author what he is doing. That is priceless in a contemporary literary world where stunted, choppy, rough prose has eclipsed mastery. I am so glad I have a copy of City of Glass; it is the best book I have read in years.
at expressing the main characters depression. The art is very simple
which is a amazing contrast to what the theme of the book is, very
complex. which in and of its self is pretty amazing. The art is simply
drawn, but is very well thought out. There are scenes in the book where
the main character,Quinn is hearing the drowning of a mentally ill man telling
a story and while he's doing this, you see the pictures of what the man
is taking about to further emphasize how mental ill he is.
Quinn is a detective, but not really. He just thinks hes
one, he use to write crime fiction but after his wife and kid died he
just stop. One day Quinn started getting wrong number calls about a
detective and one day a call came in and he just pretended to be the
detective they were confusing him for. In his mind he begain to creat
this character that was a detective.
He takes a case to protect a mental ill man that had been tortured by
his father. His father is coming out of prison soon because of incident
years ago that involved the him (the incident that left him mentally ill) The
man's Wife wants Quinn to find him at a train station and follow him and
see what he does.
After finding the old man, he begins to talk to him, what he finds out
will change the entire story for okay to simply fascinating.
Paul Karasik and David Mazzucchelli use film noir as a springboard for their visual style, much as Auster uses detective fiction as a springboard for the plot of his novel, but what's really surprising is how well the artists keep up even as Auster plunges into purely cerebral territory. There are passages in the book that must have kept the artists awake many a night: Peter Stillman's almost indecipherable speech near the beginning which goes on for almost ten pages, and later conversations with the elder Peter Stillman about the nature of language, for example. With no visual clues to draw on, they somehow manage to give these scenes a visual life of their own, matching the words to parades of symbolic imagery. The atmosphere created - dark, lonely, paranoid - is much more powerful than that of the novel's, although the novel is also great on its own merits and certainly worth reading.
It's apparent on every page that an extraordinary amount of care and consideration has been put into this adaptation. In fact, I'd like to see more novels adapted in this manner. If it can be done for "City of Glass," it can be done for just about anything.