Product Description

A graphic novel classic with a new introduction by Art Spiegelman

Quinn writes mysteries. The Washington Post has described him as a “post-existentialist private eye.” An unknown voice on the telephone is now begging for his help, drawing him into a world and a mystery far stranger than any he ever created in print.

Adapted by Paul Karasik and David Mazzucchelli, with graphics by David Mazzucchelli, Paul Auster’s groundbreaking, Edgar Award-nominated masterwork has been astonishingly transformed into a new visual language.

Product Details

• Amazon Sales Rank: #10438 in Books
• Published on: 2004-08-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 144 pages

Features

• ISBN13: 9780312423605
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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From Publishers Weekly
Karasik and Mazzucchelli's 1994 comics adaptation of Auster's existentialist mystery novel, reprinted here with an introduction by Art Spiegelman, has been a cult classic for years. The Comics Journal named it one of the 100 best comics of the century. Miraculously, it deepens the darkness and power of its source. Auster's novel (about a novelist named Quinn who's mistaken for a detective named Paul Auster and loses his mind and identity in the course of a meaningless case) zooms around in metafictional spirals, but it doesn't have a lot of visual content. In fact, it's mostly about the breakdown of the idea of representation and the widening chasm between signifier and signified. So the artists, perversely and brilliantly, play fast and loose with the text. Mazzucchelli draws everything in a bluntly sketched, bold-lined style, and having set up a suitably film noir mood at the beginning, he substitutes literal depictions of what's happening for symbolic or iconic images wherever possible. One character's monologue about the loss of meaning in his speech is drawn as a long zoom down his throat, followed by Charon arising from a void, a cave drawing, a series of holes and symbols of muteness and finally a broken marionette at the bottom of a well. This reflected, shattered Glass introduces a whole new set of resonances to Auster's story, about the things images can and can't represent when language fails.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Adult/High School–Auster's novella, originally published as part of the groundbreaking "Neo-Lit" series (Sun & Moon, 1985; o.p.), holds up in this adaptation. Daniel Quinn, a reclusive poet turned mystery writer living in New York City, receives calls from an unknown and perplexing individual who mistakes him for the detective Paul Auster (not to be confused with Auster the writer, who also appears in the book). After giving in to curiosity, Quinn accepts the case as protector of Peter Stillman, a young man whose father tortured him with experiments of sensory deprivation to discover the original language of God. As Quinn delves into the case, he becomes caught within the pair's obsessions. Karasik and Mazzucchelli tone down some of the metafictional aspects of the novella, but they streamline and focus the story without sacrificing too much of Auster's intent. Mazzucchelli's simple, straightforward artwork is ultimately what makes this version really work, transforming a highly intellectual tale based mostly around language and the word into a world of surreal visual meditations. The use of heavy black lines against a white background is reminiscent of the noir movies that partially influenced the original; when the characters dive further and further into insanity, the images become increasingly abstract. Combined with the unusual story, this technique makes for a unique introduction to some complex ideas of postmodernism without getting in the way of the plot.–Matthew L. Moffett, Northern Virginia Community College, Annandale
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

About the Author
Paul Auster is the author of eleven novels, most recently Oracle Night. His previous two novels, The Book of Illusions and Timbuktu, were national bestsellers. He lives in Brooklyn, New York.

Customer Reviews

Exceptional, Horrific and Beautiful Fiction
City of Glass is the story of Daniel Quinn, a poet turned mystery writer, who is called one night by a person urgently seeking a detective. After several nights of "Sorry, wrong number," Quinn decides to impersonate Paul Auster, the detective the person wants to hire. Accepting the assignment leads to his ultimate ruin.

This story is primarily about Quinn's descent from depression into outright obsession and madness. Horrific abuse based on misinterpreted religion plays a big part in the book, as does the threat of murder. The perceived danger eventually disappears and the case fades away, but Quinn cannot return to his former life, and ends up completely delusional.

City of Glass is a book of unusual subtlety. Much of the tension is implicit, but is sensed through sections of extensive dialogue. The sparse artwork of the book, finally, highlights the dialogue by moving it along and filling it out, rather than distracting the reader from what is being said.

This is an exceptional work of fiction, even for readers unaccustomed to graphic novels.

Pictures of some kind of Hell. . . .
Having not read Paul Auster's original novel I can't compare it with the graphic novel, but I can certainly assume it must be an excellent book since it provided the source for this excellent work. I also can't say that I fully understand everything that goes on in this deceptively simple-looking little book; there are multiple layers, and the more times you read it the more questions it answers...and the more questions it asks.

A widower named Quinn lives in New York City with nothing to do but write detective novels. They fill the time, but they don't mean much to him. He walks around the city and likes to feel lost. He is so alone that his loneliness has actually become his companion. One night his phone rings: a wrong number. The caller wants something. He has no reason, but he goes along because it provides a direction, something he has been sorely lacking for years. He becomes involved in a case that has nothing to do with him and he lets it become an obsession. He imagines himself a detective, like the hero of his novels. He imagines that New York is his cocoon, protecting him from the real world, when actually it could be his Hell. He may be losing his mind.

Who is Quinn? Are the other characters in the novel parts of himself, or are they real? Is he looking for a reason to go insane, or is the world really this way? And what parts of Quinn belong to the novel's author, Paul Auster, who also appears in the novel? What is being said here about writing, about loneliness, about language, about growing old, about families, about faith? Questions upon questions. Some are answered in repeated readings, some are never answered. They are for you.

An absolutely mind-boggling piece of work with a thrilling story, a deeply personal perspective, and wonderfully evocative images that at once recall old Bogart films, nightmares, and great comics from the past. I wish more artists would attempt what Paul Karasik and David Mazzucchelli did here: not merely to translate, but to re-imagine a novel into an entirely new form. Bravo!

Must have companion piece to The New York Trilogy
If you enjoyed (or more likely were haunted by) City of Glass then you owe it to yourself to read this graphic novel. Yes, it is essentially the exact same story as Auster's metaphysical detective novella. However, this is a fascinating and beautifully rendered interpretation of the source work. My only complaint: where are the graphic novels for Ghosts and The Locked Room?