The following book explores the intertextual relationship between
Paul Auster's first and most remarkable work, The New York Trilogy
(1987), and the works of certain American and European writers who
shaped this novel and Auster's future works. Auster's The New York
Trilogy is a novel formed by an intertextual dialogue which in some
cases it is explicit, mentioning authors and books intentionally,
and in others implicit, provoked by Auster's admiration for authors
such as Samuel Beckett or product of his role as a translator, as
it occurs with Maurice Blanchot. These two different ways of
intertextuality essentially show Auster's influence of the American
Renaissance, Samuel Beckett's fiction and the work of the writer
and critic Maurice Blanchot. In these terms, this book proposes an
exhaustive analysis of City of Glass and Herman Melville's
"Bartleby, the Scrivener," Ghosts and Edgar Allan Poe's "William
Wilson" and The Locked Room and Nathaniel Hawthorne's Fanshawe. The
two last chapters also offer a thorough analysis of the whole
trilogy in comparison to Samuel Beckett's trilogy Molloy, Malone
Dies and The Unnamable and finally introduces a study of the
trilogy as a fictionalization of Maurice Blanchot's literary
theory.
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