Auster, Paul. 1997. The art of hunger. Essays, prefaces, interviews, and the red notebook. London: Faber and Faber. Those series of coincidences that mark the narrative of the stories that make up The New York Trilogy are interconnected to one way or another with yet another piece of threat tying the stories together: the Double. The real mystery at the heart of the quest of the detectives in this book is how identity of the self is inextricably intertwined with the legitimacy of the self and how those unexpected yet hardly ever surprising “mechanics of reality” serve to interfere with the processes of apprehending identity and establishing legitimacy.

An image from the graphic novel "City of Glass" by Paul Auster, Paul Karasik and David Mazzucchelli I have been struggling to say goodbye to something for a long time now, and this struggle is all that really matters. The story is not in the words; it’s in the struggle.Kayser, Wolfgang. 1963. The Grotesque in Art and Literature. Trans. Ulrich Weisstein. Bloomington: Indiana University Press. Original edition, 1957. PA: In the second part of The Invention of Solitude, I explore many of the same questions, but more from a historical perspective than from a purely philosophical one. The New York Trilogy consists of three stories, which are distinct from each other but interact in direct and indirect, linear and nonlinear ways. There is a lot of thematic overlap between the stories, and even a fair amount of repetition. Each story could be thought of as a parallel retelling of the same story, or perhaps an examination of the same set of questions from a related viewpoint.

Fatto sta che mi è sceso l’interesse mentre lui è diventato sempre più intervistato, sempre più fico, sempre più familista, ha cominciato a non perdersi un party, di quelli con intellettuali & modelle… Si chiama trilogia di NY perché sono tre storie, tre romanzi diversi, pubblicati in US separatamente (1985, 1986 e 1987) e poi riediti insieme sempre nel 1987.

Na filmovima se često dešava da vispreni zlikovac, pošto ispuca sve kvarnjačke trikove, namami heroja u nekakvu sobu sa ogledalima, kako bi ga ošamutio sopstvenom (herojevom) sposobnošću zapažanja i napokon ga sebi skinuo s vrata. Tako se protagonista nađe u sasvim neprirodnom haosu: pošto je vizualno bombardovan svojim iskrivljenim odrazima, mora da prebaci oslonac na auditivna opažanja, te osluškuje tišinu, zaustavlja disanje, pažljivo hoda kroz srču, sve vreme kalkulišući koliko mu još municije ostalo u šaržeru, gde će i kad da opali. Tako mnogobrojni efekti napnu gledaoca do ivice stolice, ali se pravi uzrok dramatičnosti krije u, napokon, pravednoj situaciji: zlikovac je – obrni, okreni – u istom sosu kao junak, te će pobediti bolji. Tuče na ferku su visoko cenjene u svim krugovima, pa niko ne zamera što je to malo bajata fora. Debord, Guy. 1992. Society of the Spectacle. Trans. Donald Nicholson-Smith. London: Rebel Press. Original edition, 1967. Theory of the Dérive. In Situationist International Anthology, ed. Ken Knabb, 62–66. Berkeley: Bureau of Public Secrets. Original edition, 1981. 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. The following night, Friday, I was surprised to see Mrs. Fanshawe (Jane) enter the writer’s apartment with a bottle of wine and what appeared to be a book wrapped in brown paper.

In March 2006, published as text with illustrations by Art Spiegelman and an Introduction by Luc/Lucy Sante - ISBN 9780143039839 De Certeau, Michel. 1988. The Practice of Everyday Life. Trans. Steven Rendall. Berkeley/Los Angeles/London: University of California Press. Original edition, 1984. La habitación cerrada (1986): creo que aquí hay un problema de usurpación de vida, más que nada. Una forma práctica y poco sutil del intercambio de identidad. A un hombre le piden que se encargue de los manuscritos de un escritor desaparecido. Todo lo que viene después sería mucho más emocionante si hubiera menos enredos con mujeres que no salen del interés amoroso y/o del interés sexual. El personaje principal me cansó con sus hormonas (y es un adulto, vale aclarar). La literatura vuelve a ocupar un plano importante, ya que las publicaciones y la escritura mueven las decisiones de un protagonista que desentierra el pasado casi para siempre. La novela está narrada en primera persona, pero el personaje que narra me desagrada. Knabb, Ken, ed. 2006. Situationist International Anthology. Berkeley: Bureau of Public Secrets. Original edition, 1981. Salmela, Markku. 2008. The bliss of being lost: Revisiting Paul Auster’s nowhere. Critique 49 (2): 131–148.Il detective indaga sì, ma all'interno, nella stanza privata che è il suo cervello, alla ricerca di un senso della vita dell'uomo che non riesce a trovare. Söderlind, Sylvia. 2011. Humpty Dumpty in New York: Language and regime change in Paul Auster’s “City of glass”. MFS Modern Fiction Studies 57 (1): 1–16. PA: I don’t know. I think there’s a tendency among journalists to regard the work that puts you in the public eye for the first time as your best work. Take Lou Reed. He can’t stand “Walk on the Wild Side.” This song is so famous, it followed him around all his life, and he’ll always be best known for having done that. Similarly, no matter how many movies he made afterward, Godard will always be best known for Breathless. It’s true for novelists; it’s true for poets. Even so, I don’t think in terms of “best” or “worst.” Making art isn’t like competing in the Olympics, after all. Ergo, di giallo a mio giudizio c'è poco poco, ma, in compenso, il "pipponico" e il cervellotico son dispensati a pienissime mani: in estrema sintesi definirei il romanzo un non racconto (uno e trino), in un non luogo, di non persone. Hawthorne, Nathaniel. 1974a. The Old Apple-Dealer. In Mosses from an Old Manse, 439–446. Columbus: Ohio State University Press. Original edition, 1843.