PAUL AUSTER`s novel ′City of Glass′ published in 1985 appeared during the period of the postmodern era.1 Although it is considerably discussed at what time the beginnings of the postmodern era is to be set, it is irrefutable that ´City of Glass´ belongs to postmodern literature.
To analyse in how far PAUL AUSTER`s ´City of Glass´ serves as a representative of the postmodern era and to show the reader in what way postmodern qualities are converted into the writings of that time, the main part of this paper will be divided up into two sections. The first section serves to define the coming up of this movement and the qualities it possesses within the genre of detective fiction. Furthermore some important idealistic features like the idea of reality and identity have to be taken into consideration. The short introduction of the two identity-constituting models by ERIKSON and MEAD will provide a better overview of the idea of identity formation. Within the second section the novel itself will be taken into consideration. Therefore it is necessary to take a close look at the main character Daniel Quinn and his character development the crisis of his identity in the course of the novel respectively. Besides another striking factor, namely the appearance of doublings and triplings of characters, has to be clarified as well as the role of the narrator. The conclusion at the end of the paper is supposed then to show to what extent ´City of Glass´ belongs to postmodern literature and which peculiarities of postmodern writings have been included in this novel.
Since there are just a few recent publications on Paul Auster and his novels three of them namely, An Art of Desire: Reading Paul Auster by BERND HERZOGENRATH, Crisis: The Works of Paul Auster by CARSTEN SPRINGER and the publication of ANNE M. HOLZAPFEL The New York Trilogy: Whodunit?: Tracking the Structure of Paul Auster′s Anti-Detective Novels served as the basis for this paper.
Table of Contents
1.0 Introduction
2.0 Introduction to postmodern detective fiction
2.1 The question of reality and identity within the postmodern period
2.2. Eriksson's model of identity formation
2.3 Mead's model of identity formation
3.0 Daniel Quinn: a multiple character
3.1 The quality of doublings within the novel
3.2 The narrator's role within the novel
4.0 Conclusion
Objectives and Core Themes
This academic paper examines Paul Auster’s 1985 novel 'City of Glass' as a quintessential example of postmodern literature and anti-detective fiction. The author investigates how the text subverts traditional detective genre tropes, specifically focusing on the disintegration of character identity, the role of the narrator, and the ontological instability inherent in postmodern narrative structures.
- The intersection of reality and representation in postmodernism.
- Application of psychological models by Erikson and Mead regarding identity formation.
- The impact of "doubling" and "tripling" of character identities on narrative coherence.
- Analysis of Daniel Quinn’s existential crisis and eventual self-dissolution.
- The subversion of the detective figure and the "labyrinth without exit" concept.
Excerpt from the Book
3.0 Daniel Quinn: a multiple character
At the very beginning of the story Daniel Quinn is just introduced as Quinn, a thirty-five years old man, living in New York and writing mystery novels under the “Poe-esque” pseudonym of William Wilson. Furthermore the reader gets to know that his wife and his three-year old son died five years ago. However, the reader does not get to know under what circumstances he lost his family and the narrator of the story emphasises that “there is little that need detain us”.
Nevertheless some curiosities evoke the attention of the reader right from the beginning of the story. Firstly, Quinn seems to be excluded from social life since he has no family, no friends and even never had personal contact neither to his agent nor to his publisher. Instead of being integrated into society he lives in solitude while he writes mystery novels under the pseudonym of William Wilson, a name that appears in a story written by E.A.POE. In POE`s story there are two different characters that are called William Wilson. HOLZAPFEL expresses herself on it by claiming that “Quinn fictionalizes himself twice by using an already ficticious link: Wilson“. In addition to that it has to be noticed that AUSTER makes use of one specific quality of anti-detective fiction, namely a doubling in form of an allusion to another writing by E.A.POE.
Summary of Chapters
1.0 Introduction: This chapter outlines the paper's goal to analyze 'City of Glass' as a postmodern anti-detective novel, establishing the theoretical basis using identity models by Erikson and Mead.
2.0 Introduction to postmodern detective fiction: This section defines the historical emergence of postmodernism and characterizes anti-detective fiction as a genre that intentionally frustrates reader expectations of order.
2.1 The question of reality and identity within the postmodern period: This chapter explores the postmodern skepticism toward stable truth, arguing that language and identity are merely constructions.
2.2. Eriksson's model of identity formation: This chapter introduces Erikson's psychological stages, specifically focusing on the adolescent identity crisis and the quest for a unified "ego-identity".
2.3 Mead's model of identity formation: This chapter discusses Mead’s theory of the "me" and the "I," emphasizing that self-unity requires consistent feedback from a stable social environment.
3.0 Daniel Quinn: a multiple character: This chapter analyzes the protagonist's identity fragmentation and his retreat into various pseudonyms and roles.
3.1 The quality of doublings within the novel: This chapter examines the recurring motifs of mirrored characters and allusions as tools for decentralizing the protagonist's sense of self.
3.2 The narrator's role within the novel: This chapter investigates the unreliable third-person narrator who ultimately exposes the subjective, limited nature of the story.
4.0 Conclusion: This final chapter synthesizes the findings, confirming that the novel successfully utilizes postmodern qualities to render truth unattainable and identity fluid.
Keywords
Paul Auster, City of Glass, Postmodernism, Anti-detective fiction, Identity formation, Erikson, Mead, Daniel Quinn, Doubling, Narrator, Ontology, Indeterminacy, Patchwork identity, Labyrinth, Literature
Frequently Asked Questions
What is the primary focus of this paper?
The paper explores how Paul Auster’s 'City of Glass' functions as a postmodern anti-detective novel, specifically analyzing how it dismantles traditional genre expectations and character integrity.
What are the central themes discussed?
Key themes include the loss of identity, the unreliability of truth in a postmodern world, the concept of "doubling" in literature, and the existential isolation of the protagonist.
What is the author's primary research question?
The work seeks to determine the extent to which 'City of Glass' embodies postmodern qualities and how these qualities fundamentally alter the detective story structure.
Which methodologies are employed in the analysis?
The author applies psychological frameworks, specifically Erikson's model of identity formation and Mead's social behaviorism, to interpret the protagonist's psychological decline.
What does the main part of the paper cover?
It covers the definition of postmodern detective fiction, the theoretical underpinnings of identity construction, and a detailed character analysis of Daniel Quinn and the narrative voice.
Which keywords define this work?
Significant keywords include Postmodernism, Anti-detective fiction, Daniel Quinn, Identity diffusion, and Ontological instability.
How does the role of the narrator contribute to the novel's postmodernism?
The narrator initially appears omniscient but later admits to relying on the red notebook, thereby forcing the reader to question the authority and truthfulness of the narrative.
Why is the novel categorized as an "anti-detective" story?
It is categorized this way because it utilizes the conventions of a detective story—such as crimes and investigations—but deliberately fails to provide a logical resolution, leaving the reader in a "labyrinth without exit."
- Citation du texte
- Toni Rudat (Auteur), 2006, Paul Auster's 'City of Glass' as a postmodern detective novel, Munich, GRIN Verlag, https://www.grin.com/document/58355
