The concept of fragmented self was first introduced by Freud through his model of three part psyche, namely ego, id and super-ego, and later modified by Jacque Lacan, the famous postmodern psychoanalyst. The split of subject is one of the most appealing concepts in the postmodern literature.
Beneath a deceptively simple fictional form—the detective novel, science fiction, the picaresque story—lies an intellectually stimulating, thematically complex interplay between reader and author as well as between protagonist and writer. The use of the detective-story form to introduce themes of isolation and the crisis of the individual is taken as a prime example of postmodern literature, writing that may use traditional forms in ironic or displaced ways.
Characteristic of postmodernist stories, the protagonists of Auster novels do not reach solutions. Many of his heroes disappear, die mysterious deaths, or lose all of their personal possessions. Throughout his long fiction, Auster is critically admired for his diversity of form, his intelligence, the agility of his prose, and the complexity of his structure and themes.
His writing appeals to a mass audience as well as to literary scholars; his fiction has a cult following among students. He is known for the variety of genres in which he works: They feature mazes of story lines and narrative twists and turns in which fiction bleeds into reality.
The protagonist is often a writer, sometimes Auster himself. The three novels share a common style, theme, and New York setting.
Auster intentionally blurs the distinction between reality and text, placing himself as a character in the first novel. This postmodern device raises questions of identity that resonate throughout the series.
Auster takes the convention of mistaken identity and develops it into a metaphor for contemporary urban life. The first novel, City of Glass, opens as a standard detective novel. Quinn, a detective novelist, receives a telephone call intended for a detective named Paul Auster.
The job is to tail a madman named Stillman who has recently been released from a mental institution. Once a promising linguist, Stillman had been committed for isolating his son in a locked room for nine years to try to re-create the primitive language of Adam and Eve.
The novel subtly shifts from a standard detective story to an existential quest for identity. It moves into the realm of serious literature as it explores themes of the degeneration of language, the shifting of identity, and the struggle to remain sane in the anonymity of the metropolis. Each detail is significant.
Coincidences abound, particularly coincidences involving names. Quinn the watcher becomes as seedy and degenerate as Stillman the quarry. Questions remain unanswered; characters simply disappear. Ghosts, the second novel of the trilogy, explores many of the same questions of identity and blurred distinctions between watcher and prey, detective and client, but on a more abstract plane.
A client named White hires a detective named Blue to follow a man named Black. The three characters merge into one as Blue passes years watching Black writing a book in a room across the street, while Blue records his observations and mails them weekly to White.
Clearly the novel is meant to be a metaphor, and after carefully paying attention to details and clues, as is necessary in a mystery story, the reader is left with the question, What does it all mean? As in the first novel, the detective hired to watch merges into the watched.
In this novel, however, neither the reader nor the protagonist knows why the detective is watching his subject. The final volume in the trilogy, The Locked Room, is the richest and most accessible of the three.City of Glass is a novel written by Paul Auster in , and its one of the stories included in the series of novels The New York Trilogy ().
One of the essential themes that recur in many of Austers works is the search for identity and personal meaning, and this . Education Index A Lacanian Analysis of Paul Auster's New York Trilogy. Critical Analysis In the essay “Condoms: the New Diploma”, by Rush Limbaugh published in his book The Way Things Ought To Be in , Limbaugh talks about how distribution of condoms in schools can lead to teenage promiscuity and encourages sexual activity at an.
Critical Analysis on Paul Auster's the New York Trilogy Essay. Space or Afterlife: An Analysis of Paul Auster's The New York Trilogy In Steven E. Alford's analytical piece, "Spaced-out: Signification and Space in Paul Auster's 'The New York Trilogy'" principally focuses on ideas of how space is portrayed and the detachment of main characters in .
The New York Trilogy essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The New York Trilogy by Paul Auster. Space or Afterlife: An Analysis of Paul Auster's The New York Trilogy In Steven E.
Alford's analytical piece, "Spaced-out: Signification and Space in Paul Auster's 'The New York Trilogy'" principally focuses on ideas of how space is portrayed and the detachment of main characters in Paul Auster's The New York Trilogy. May 01, · The New York Trilogy, published through and , collected together in , is Paul Auster’s first and most famous work of fiction.
It’s short (put together it only comes to pages), it’s memorable and it’s a grab-bag of postmodern trickery filtered through a sincere enthusiasm for both crime novels and the vicissitudes of.