Author Paul Auster was suspicious of language. He wrote a trilogy of thematically linked detective novels, “The New York Trilogy,” that had less to do with solving crime than with interrogating the deceptive ambiguities of words—the riddles of language itself.
“The New York Trilogy” has been adapted in graphic novel format by a trio of esteemed artists, boiling down the text to essentials and providing pictures. Reality itself is under scrutiny in Auster’s work, especially in those places where fantasy shapes perception. Eighties New York is a brooding presence furnished with pay phones and typewriters. Who will die in these stories? Maybe language itself has expired. As a criminal and failed academic informs the Private Eye in the opener, City of Glass, “Most people think of words as unmovable stones—stones can change, they can erode.”
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