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City of Glass: The Graphic Novel

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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


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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

46 review for City of Glass: The Graphic Novel

  1. 4 out of 5

    Orsodimondo

    ALL WORK AND NO PLAY MAKES JACK A DULL BOY Credo che fosse il 1991, l’anno in cui ho incontrato Paul Auster per la prima volta: La musica del caso. E fu subito amore. Amore grande: c’erano in Auster umori che in letteratura mi sembravano insoliti, fuori, e oltre, che all’epoca percepivo solo nel cinema (non per niente l’esperienza cinematografica di Auster è sostanziosa e fortunata). Città di vetro era introvabile, così come la raccolta completa, la Trilogia di New York: fuori catalogo, e le biblio ALL WORK AND NO PLAY MAKES JACK A DULL BOY Credo che fosse il 1991, l’anno in cui ho incontrato Paul Auster per la prima volta: La musica del caso. E fu subito amore. Amore grande: c’erano in Auster umori che in letteratura mi sembravano insoliti, fuori, e oltre, che all’epoca percepivo solo nel cinema (non per niente l’esperienza cinematografica di Auster è sostanziosa e fortunata). Città di vetro era introvabile, così come la raccolta completa, la Trilogia di New York: fuori catalogo, e le biblioteche a Roma funzionavano ancora per modo di dire (nel senso che non funzionavano affatto). Ci volle del tempo per metterci le mani sopra, dovetti aspettare la ristampa. L’amore è continuato per qualche anno, ho letto di suo tutto quello che veniva tradotto (un po’ troppo tosto in originale per me). Poi, l’amore è finito: si sa, le storie iniziano e finiscono, solo poche durano per sempre, uno di noi due s’era stancato, forse entrambi, uno di noi due era cambiato, ma non lui: a me sembrava che si ripetesse oltre la mia sopportazione, che giocasse troppo a fare il Paul Auster, indugiasse nei suoi tic, ormai cliché - lui voleva che io gli fossi fedele oltre le mie consuetudini. Così, alla fine ci siamo lasciati. E non ci siamo mai più incrociati. Adesso lui è famosissimo, una star della scrittura, molto occupato con party e mondanità varia nella Grande Mela, a sponsorizzare moglie e figlia. Io, invece, leggo altro. E quando vado a New York non lo cerco, non gli faccio neppure sapere che sono in città. Ci siamo proprio persi. Qui, ottima disanima, ghiotta e densa, resta poco o nulla da segnalare: http://www.minimaetmoralia.it/wp/tras... Di mio posso solo aggiungere che mentre leggevo queste pagine le immagini che ho inserito qui mi si sono accese davanti agli occhi della mente come fari. Io sono nuovo ogni giorno. Nasco quando mi sveglio al mattino, cresco durante il giorno, e muoio la sera.

  2. 4 out of 5

    Kevin Kelsey

    Such a great adaptation of the Paul Auster novel. In the original City of Glass, the labyrinthine feel of the story was created through Auster's prose. In this adaptation, it's illustrated through beautifully creative visuals. It made me want to read Auster's book again, just to experience it through a new interpretive lens.

  3. 5 out of 5

    Scott Mccloud

    Not only a fantastic, engrossing read, but also the most teachable comic I know. My students in a recent 9 week class took a deep dive into the book and found layers of depth even I was unaware of. It's also an adaptation that's true to the original, but does much more than merely illustrate the text. It uses every tool in the comics toolbox.

  4. 4 out of 5

    Sam

    the original City of Glass, by paul auster, was a book that i enjoyed greatly when i first read it. i thought it was really unique, a thoughtful, stylish blend of raymond chandler, kafka, and borges. i still like it, but it hasn't aged that well for me. a lot of what i thought was playfulness now seems precious, facile. the prose is polished, but by the same token oddly eroded, flat, sanded down. often it feels like auster doesn't actually inhabit the english language--he reads like he's always the original City of Glass, by paul auster, was a book that i enjoyed greatly when i first read it. i thought it was really unique, a thoughtful, stylish blend of raymond chandler, kafka, and borges. i still like it, but it hasn't aged that well for me. a lot of what i thought was playfulness now seems precious, facile. the prose is polished, but by the same token oddly eroded, flat, sanded down. often it feels like auster doesn't actually inhabit the english language--he reads like he's always already a french translation (which is maybe why he's so popular over there). and anyway, i like exuberence now, headlong run-on rushes and spiky thickets of clauses. this graphic novel, with art by paul karasik and the amazing david mazzuchelli (one of my all time comic book favorites), is another beast entirely. it takes the fine small bones of auster's narration and clothes it in images. they are, individually, simple--black and white, stylized, deliberately cartoonish. but they flow in and out of each other with the exuberance that auster's prose lacks, and it makes all the difference. in the opening sequence, for example, the protagonist looks out a window and sees a brick wall. the lines of the brick wall turn into a cityscape. the cityscape zooms out, and we see a map of the city, a giant maze. and the maze melts and fragments and abstracts, until we're looking at a fingerprint. and then we see that it's an smudge of ink on a piece of paper... amazing.

  5. 4 out of 5

    George Georgiadis

    Θα ήταν πραγματικά αδύνατον το οποιοδήποτε graphic novel να φτάσει τα βάθη και τις λογοτεχνικές κορυφές της νουβέλας του Auster. Παρ'όλα αυτά, στο συγκεκριμένο έχει γίνει εξαιρετική δουλειά τόσο στην εικονογράφηση όσο και στην προσπάθεια να κρατηθεί το ύφος και ο πυρήνας της ιστορίας του αυθεντικού κειμένου του Auster. Έτσι, το αποτέλεσμα αποζημιώνει και με το παραπάνω, κυρίως με τα εκπληκτικής ομορφιάς σκίτσα που καταφέρνουν να μετουσιώσουν σε εικόνες τα διάφορα περιστατικά που λαμβάνουν χώρα σ Θα ήταν πραγματικά αδύνατον το οποιοδήποτε graphic novel να φτάσει τα βάθη και τις λογοτεχνικές κορυφές της νουβέλας του Auster. Παρ'όλα αυτά, στο συγκεκριμένο έχει γίνει εξαιρετική δουλειά τόσο στην εικονογράφηση όσο και στην προσπάθεια να κρατηθεί το ύφος και ο πυρήνας της ιστορίας του αυθεντικού κειμένου του Auster. Έτσι, το αποτέλεσμα αποζημιώνει και με το παραπάνω, κυρίως με τα εκπληκτικής ομορφιάς σκίτσα που καταφέρνουν να μετουσιώσουν σε εικόνες τα διάφορα περιστατικά που λαμβάνουν χώρα στο πρωτότυπο κείμενο.

  6. 5 out of 5

    StoryTellerShannon

    This graphic novel was based on a novella by the same author and Comic Journals voted this in the top 100 for the 20th century. It's about a writer who takes on the role of his detective character to investigate a mystery but this choice sends him down a path of obsessive madness. It blurs the line between reality and fantasy and even identity as the author of this tale finds himself changing roles, stories and overall identities. The voices coming out of objects and gradual changes and pullback This graphic novel was based on a novella by the same author and Comic Journals voted this in the top 100 for the 20th century. It's about a writer who takes on the role of his detective character to investigate a mystery but this choice sends him down a path of obsessive madness. It blurs the line between reality and fantasy and even identity as the author of this tale finds himself changing roles, stories and overall identities. The voices coming out of objects and gradual changes and pullbacks were intriguing. That said, it's so cleverly done that I feel there wasn't enough of an interesting story here so I'd say it's worth a look for its overall cleverness but it isn't Sterling Silver quality for the tale. Casual readers will find this graphic novel mind boggling. STORY/PLOTTING: B minus; CHARACTERS/DIALOGUE: B; SOMETHING NEW AND FRESH: B plus to A minus; ARTWORK: B; OVERALL GRADE: B; WHEN READ: January 2012.

  7. 4 out of 5

    João Carlos

    5 Estrelas Gráficas Li o romance ”A Trilogia de Nova Iorque” do escritor norte-americano Paul Auster (n. 1947) no início dos anos 90, uma obra inicialmente publicada em três partes (”Cidade de Vidro”, ”Fantasmas” e ”O Quarto Fechado”). Decorridos mais de vinte anos começo a ler ”Cidade de Vidro”, uma ”novela gráfica”, adaptada por Paul Karasik (n. 1956) e David Mazzucchelli (n. 1960), sob os auspícios de Art Spiegelman (n. 1948). A adaptação de um “bom” romance ao cinema é de tal forma comum que ra 5 Estrelas Gráficas Li o romance ”A Trilogia de Nova Iorque” do escritor norte-americano Paul Auster (n. 1947) no início dos anos 90, uma obra inicialmente publicada em três partes (”Cidade de Vidro”, ”Fantasmas” e ”O Quarto Fechado”). Decorridos mais de vinte anos começo a ler ”Cidade de Vidro”, uma ”novela gráfica”, adaptada por Paul Karasik (n. 1956) e David Mazzucchelli (n. 1960), sob os auspícios de Art Spiegelman (n. 1948). A adaptação de um “bom” romance ao cinema é de tal forma comum que raramente suscita polémica, acabando quase sempre por desencadear as inevitáveis comparações qualitativas entre o livro e o filme. Agora “transformar” o romance de Paul Auster, ”Cidade de Vidro”, publicado em 1986, numa “novela gráfica”, editada em 2004, é mais incomum e original, e na edição portuguesa da Asa há uma introdução escrita por Art Spiegelman que resume e esclarece as inúmeras dúvidas que nos podem suscitar esta adaptação da obra de Paul Auster; desde a concepção original até ao convite endereçado a Paul Karasik e a David Mazzucchelli para materializar tal ideia. ”Tudo começou graças a um número errado… o telefone tocou três vezes a meio da noite… e, do outro lado, uma voz… perguntando por alguém que não era ele.” (Pág. 1 – 2) Daniel Quinn, foi no passado um poeta promissor, que perdeu a sua mulher e o seu filho, que “desistira de tudo”, tornando-se, actualmente, num escritor de romances policiais, sob o pseudónimo de William Wilson. O referido telefonema, efectuado por Peter Stillman, era destinado a Paul Auster, um detective da “agência de detectives auster”, a que Daniel Quinn dá seguimento, aceitando a incumbência de investigar e vigiar Peter Stillman, o pai de Peter Stillman, ambos têm o mesmo nome, que submetera o seu filho a maus tratos, durante mais de nove anos, julgado, declarado louco e internado, mas que vai ser libertado em breve. O resultado final de ”Cidade de Vidro” é verdadeiramente surpreendente, não apenas pela excelência e pela originalidade de um texto, simultaneamente, ambíguo e misterioso, sobre a identidade e a suas sombras, “um romance dentro de um romance”, onde surgem inúmeras personagens, que acabam por ter identidades que se confundem, “Quinn/William Wilson/o detective Paul Auster/Max Work (o detective narrador dos romances de William Wilson/ Daniel Quinn)/Paul Auster (o escritor, que é uma “personagem”, juntamente com a sua mulher Siri Hustvedt e o filho de ambos, Daniel); mas, igualmente, pela conjugação admirável do “grafismo” de Paul Karasik e a David Mazzucchelli, e pelas inúmeras referências literárias, com destaque para o livro ”The Garden and the Tower” – Early Visions of the New World (“O Jardim e a Torre. Perspectivas primitivas do Novo Mundo”) de Stillman (um livro inexistente), ao livro “Paraíso Perdido” de Milton, a Jorge Luis Borges, a Edgar Allan Poe,.. ; e, igualmente, ao romance “noir”, à sua “femme fatale”; uma ”novela gráfica” para ler e reler… Como passados mais de vinte anos não “restou” nenhuma lembrança do livro "A Trilogia de Nova Iorque" de Paul Auster vou "relê-lo"...

  8. 5 out of 5

    Mientras Leo

    Pocas veces me he encontrado con una adaptación tan bien llevada pese a la dificultad de la obra original. Es casi más un complemento añadido que una adaptación http://entremontonesdelibros.blogspot...

  9. 5 out of 5

    Mikheil

    Despite the fact I remembered original novel (including ending, etc.) by Paul Auster, I enjoyed having one day with this comic and think that it is worth reading. Brilliant from the very beginning to the very last page. The ideas of climbing inside an imaginary skin of someone you don’t know, chasing the ghostly footsteps of unknown man, vanishing into the heart of megalopolis seem still catchy for me. While reading I remembered the first time I read novel ”City of Glass” and I loved the nostalg Despite the fact I remembered original novel (including ending, etc.) by Paul Auster, I enjoyed having one day with this comic and think that it is worth reading. Brilliant from the very beginning to the very last page. The ideas of climbing inside an imaginary skin of someone you don’t know, chasing the ghostly footsteps of unknown man, vanishing into the heart of megalopolis seem still catchy for me. While reading I remembered the first time I read novel ”City of Glass” and I loved the nostalgic feeling I had. What also should be told is that Art Spiegelman who is a real prodigy in comics’ field tells the introduction story about how this book was created. He also speaks about respectability and reputation of comics (uses term “graphic novel”) and etc. Very interesting and good pages to read. As for the art by David Mazzucchelli, I can only say positive words. It hauntingly follows the narration and combined with the story is so good that you cannot skip any panel. By the way, I still cannot explain how this brilliant novel is not adapted into feature film by any of the good directors of NY School?! I can imagine how Jim Jarmusch and Paul Auster can create the best NY movie of all time!

  10. 5 out of 5

    Violet

    I haven't read the original book, but the story seems so unbelievable that I doubt I would enjoy it as a novel. The visuals of this graphic novel told the most interesting story, despite the loosely held together strings that are the existential plot. I didn't see the deconstruction of language in the story at all. I would describe the adaption of City of Glass (and possibly the novel itself) as Film Noir for 13 year-olds.

  11. 5 out of 5

    Mattia Ravasi

    Video review How do you move into a different medium a story that's written to remain stubbornly anchored to its native one?

  12. 5 out of 5

    Casey McLaughlin

    Pure masturbation. Lots of build up with no closure. Lazy. Reminded me of the show "Lost", the endless questions keep you going until you realize they have given you no answers. Perfect bookshelf filler for the pseudo-intellectual.

  13. 4 out of 5

    Guilherme Smee

    Considero a adaptação do conto Cidade de Vidro, de Paul Auster, para os quadrinhos por Paul Karasik e David Mazzucchelli, o melhor trabalho de transcrição de uma outra mídia para os quadrinhos. Digo isso porque seus artífices conhecem profundamente o potencial da linguagem dos quadrinhos e isso pode ser verificado em outros quadrinhos seus, como o Asterios Polyp de David Mazzuchelli. De longe essa adaptação é que mais usa e abusa dos recursos gráficos e narrativos de uma história em quadrinhos p Considero a adaptação do conto Cidade de Vidro, de Paul Auster, para os quadrinhos por Paul Karasik e David Mazzucchelli, o melhor trabalho de transcrição de uma outra mídia para os quadrinhos. Digo isso porque seus artífices conhecem profundamente o potencial da linguagem dos quadrinhos e isso pode ser verificado em outros quadrinhos seus, como o Asterios Polyp de David Mazzuchelli. De longe essa adaptação é que mais usa e abusa dos recursos gráficos e narrativos de uma história em quadrinhos para ampliar o sentido da leitura de uma escrita literária. De longe também, toda a Trilogia de Nova York, obra-prima de Paul Auster, não são narrativas de fácil transcrição para a linguagem gráfica, então essa é outra razão para reverenciar o trabalho de Karasik e Mazzucchelli com Cidade de Vidro, principalmente a iconicidade e a metalinguagem da história. Uma pena essa HQ estar fora de catálogo há muito tempo, desde que foi lançada pela primeira e única vez em maio de 1998 pela Via Lettera. Uma pena também que a edição que eu compre no sebo, para minha segunda leitura, continha várias duplas de páginas em branco, já que o valor investido nela não foi pouco. Fica um apelo às boas editoras para trazerem novamente esse incrível material para o Brasil.

  14. 4 out of 5

    Dominick

    Interesting comics adaptation of Auster's novel is very strong on graphic design. Karasik and Mazzucchelli do some remarkable work with layout and panel design, with mixing representational and symbolic art. It's a pleasure to look at. Narratively, though, this is a highly self-conscious and post-modern take on noir. It includes the expected elements--first-person narrative, femme fatale, long-hidden secrets, etc.--but it's not really interested in telling a story so much as exploring subjectivi Interesting comics adaptation of Auster's novel is very strong on graphic design. Karasik and Mazzucchelli do some remarkable work with layout and panel design, with mixing representational and symbolic art. It's a pleasure to look at. Narratively, though, this is a highly self-conscious and post-modern take on noir. It includes the expected elements--first-person narrative, femme fatale, long-hidden secrets, etc.--but it's not really interested in telling a story so much as exploring subjectivity and indeterminacy. as a result, what's actually going on is never made clear--if, indeed, Auster even had a clear idea. Mystery is always about finally explaining the inexplicable, so it perhaps lends itself especially well to postmodern subversion of objectivity and determinability. But if you like your mysteries to have resolutions, and your plot points to have payoffs, you would do well to look elsewhere.

  15. 4 out of 5

    Núria

    'La ciudad de cristal' es mi favorita de todas las cosas que ha escrito Paul Auster. Es también lo primero que leí de este escritor. Es la primera parte de la 'Trilogía de Nueva York' que a día de hoy me sigue pareciendo la única obra de Auster realmente conseguida. Es por esto que me animé a leer esta adaptación en forma de cómic (o novela gráfica, lo que ustedes prefieran). Una parte de mí no era muy optimista. Una parte de mí sólo quería leerlo para ver como este noble intento fracasaba. Sin 'La ciudad de cristal' es mi favorita de todas las cosas que ha escrito Paul Auster. Es también lo primero que leí de este escritor. Es la primera parte de la 'Trilogía de Nueva York' que a día de hoy me sigue pareciendo la única obra de Auster realmente conseguida. Es por esto que me animé a leer esta adaptación en forma de cómic (o novela gráfica, lo que ustedes prefieran). Una parte de mí no era muy optimista. Una parte de mí sólo quería leerlo para ver como este noble intento fracasaba. Sin embargo, no ha sido así. A pesar de que es una historia muy poco visual y bastante abstracta, el cómic se sale airoso, encuentra una serie de soluciones visuales realmente originales y que plasman perfectamente el tono de la obra original de Auster sin dejar de dar un punto de vista personal, algo que no era nada pero nada fácil. La recomendaría para curiosos que disfrutaron de la 'Trilogía de Nueva York'.

  16. 5 out of 5

    Kristen

    This is one of the most moving, weird, horrifying, heart-stopping graphic novels I've ever read, and there aren't many friends I'll be recommending it to- but I loved it. I kept singing the Fionn Regan song that says, "For the loneliness you foster/ I suggest Paul Auster," as the book deals with the themes of language, names, identity, and how we use all those things to both reveal and conceal. "Things have broken apart, and our words have not adapted. If we can't name a common object, how can we This is one of the most moving, weird, horrifying, heart-stopping graphic novels I've ever read, and there aren't many friends I'll be recommending it to- but I loved it. I kept singing the Fionn Regan song that says, "For the loneliness you foster/ I suggest Paul Auster," as the book deals with the themes of language, names, identity, and how we use all those things to both reveal and conceal. "Things have broken apart, and our words have not adapted. If we can't name a common object, how can we speak of things that truly concern us? My work is simple. In New York, brokenness is everywhere. I collect shattered objects to examine, and I give them names."

  17. 5 out of 5

    Luis

    Se trata de una novela gráfica que relata el primer volumen de la Trilogía de Nueva York de Paul Auster, y editado por Anagrama. Con un trazo sencillo y un tanto tosco, recorre la historia desde el punto de vista de su protagonista. Aparte de seguir la trama de forma bastante fidedigna, usa recursos muy imaginativos desde el punto de vista visual para hacer hablar a sus personajes y para describir ideas abstractas y confusas que aparecen en la narración original. Es además una oportunidad idónea Se trata de una novela gráfica que relata el primer volumen de la Trilogía de Nueva York de Paul Auster, y editado por Anagrama. Con un trazo sencillo y un tanto tosco, recorre la historia desde el punto de vista de su protagonista. Aparte de seguir la trama de forma bastante fidedigna, usa recursos muy imaginativos desde el punto de vista visual para hacer hablar a sus personajes y para describir ideas abstractas y confusas que aparecen en la narración original. Es además una oportunidad idónea para acercar a los que no conocen la historia al libro original.

  18. 4 out of 5

    antónio alves

    a adaptação para bd do texto de p. auster é muito boa.

  19. 4 out of 5

    Koen Verbrugge

    Vreemd & bevreemdend. Dat is het verhaal. Het verhaal van Paul Auster, maar ook deze ambitieuze graphic novel versie. Dit boek is ambitieus, omdat niet rust op letterlijke illustraties van het verhaal. De tekenaar ondersteunt de tekst met visuele verhalen die op zichzelf kunnen staan. Dat merk je. Zo blijken passages met zeer statische 'vertellers', plots scènes vol visuele choreografie te ontlokken, met - wss - dezelfde ondertoon. Ik kreeg meermaals het gevoel twee parallelle kunstwerken tegel Vreemd & bevreemdend. Dat is het verhaal. Het verhaal van Paul Auster, maar ook deze ambitieuze graphic novel versie. Dit boek is ambitieus, omdat niet rust op letterlijke illustraties van het verhaal. De tekenaar ondersteunt de tekst met visuele verhalen die op zichzelf kunnen staan. Dat merk je. Zo blijken passages met zeer statische 'vertellers', plots scènes vol visuele choreografie te ontlokken, met - wss - dezelfde ondertoon. Ik kreeg meermaals het gevoel twee parallelle kunstwerken tegelijkertijd op te mogen/moeten nemen. Dat ik dat apprecieer, dat weet ik. Wat ik niet weet? Eens het verhaal uit is, en je je afvraagt wat het 'centrale idee' van het verhaal nu was... Dan geraak ik er niet uit. Opties? Verloren gegaan in de tekst-selectie?Verdronken in de extra tekeningen? Bewust desoriënterend & gewoon opzet? Vreemd en bevreemdend is deze graphic novel van Mazzuchelli, maar dat was het origineel ook. Zo zit het verhaal vol 'dubbele' identiteiten: elke naam heeft minimum twee dragers en de hoofdrol draagt drie identiteiten. Zeer ambitieus. Het vakmanschap staat buiten twijfel. Het verhaal? Is vreemd, maar is dit een ander soort vreemd? Waren twee ambities teveel voor één balans? Ik vraag me des te meer af. Misschien moet ik het origineel lezen. Wat het ook mag wezen:Ik laat het wat bezinken terwijl ik nageniet. Commentaar is welkom & lezen is aanbevolen.

  20. 4 out of 5

    Lucinda

    A mystery about a mystery which experiments with irony, identity and reality for an altogether unique reading experience. Paul Auster cleverly combines contemporary detective fiction with nouveau roman and American ‘postmodernism’ –for a supremely singular story of philosophical premise and impaction. As the main protagonist descends into madness, being able to see clarity amidst the congested cityscape is imperative if one is to find themselves ‘on their feet’ when reaching the end. It is the A mystery about a mystery which experiments with irony, identity and reality for an altogether unique reading experience. Paul Auster cleverly combines contemporary detective fiction with nouveau roman and American ‘postmodernism’ –for a supremely singular story of philosophical premise and impaction. As the main protagonist descends into madness, being able to see clarity amidst the congested cityscape is imperative if one is to find themselves ‘on their feet’ when reaching the end. It is the intertextual relationship and the clever way in which the author captures the character’s psychoscape, which ultimately makes this graphic novel stand apart –from its novel counterpart. confounding confusion in illuminating illusions… Everything lies within!

  21. 5 out of 5

    Penelope

    I thought this was a pretty amazing graphic novel, and I definitely plan on reading the original City of Glass next. Concepts of identity, the role of the author in creating meaning, and the blurred line between fiction and reality are all present here, and explored in quite an intriguing way. I don't know how I felt about the ending, though. Maybe I just haven't thought about it enough, but it seemed too open-ended to me. In a way it makes sense, since this story is not a traditional narrative. I thought this was a pretty amazing graphic novel, and I definitely plan on reading the original City of Glass next. Concepts of identity, the role of the author in creating meaning, and the blurred line between fiction and reality are all present here, and explored in quite an intriguing way. I don't know how I felt about the ending, though. Maybe I just haven't thought about it enough, but it seemed too open-ended to me. In a way it makes sense, since this story is not a traditional narrative. It attempts to extend itself beyond the confines of the page by involving the author himself as a "fictional" character (but he's still the author...further complicated by the fact that Quinn himself is a writer also--but goes by a different pen name). Still, I would have liked an ending that was more...final...even if that finality was contrived (as all literary endings are, I guess). I think what left me wanting a "final" ending was the fact that the story starts off in a somewhat "normal" narrative vein. The issues of identity and the inclusion of the author are introduced pretty early on, but about 3/4 of the way in, the narrative quickly descends into abstraction. A part of me loves it, a part of me doesn't. I'm undecided I guess.

  22. 4 out of 5

    Ill D

    Fucking stupid. It's nothing short of a cute and novel expiriment that doesn't really go anywhere. My disapointment with this graphic novel was sorely exacerbated once I found out Spiegelman was the creative overseer and he did nothing to focus the narrative which is presented way too piecemeal and cut up for a normal reader to understand littleone enjoy.

  23. 5 out of 5

    Jeff Jackson

    The rare adaptation that exceeds its source material. A doubly impressive feat since it's based on Paul Auster's best novel. With its deft ink strokes and airtight plot, this brilliant graphic perfectly captures and distills the original existential detective story. One of the great graphic novels and a perfect introduction to the fictional world of Paul Auster, too.

  24. 4 out of 5

    Álex

    Metametametaliteratura. Perdón, metanovela gráfica.

  25. 5 out of 5

    Artur Coelho

    Um solitário escritor de inconsequentes romances policiais recebe uma chamada a meio da noite, a pedir-lhe para investigar um caso policial. Envolvido numa trama de meias palavras e labirintos conceptuais, o escritor acaba por desvanecer-se nas ruas da cidade, deixando um caderninho cheio de notas que nos permite reconstituir a sua queda no esquecimento. Se olharmos para as profundezas de um texto, descobrimos sempre cadas vez mais níveis de complexidade sempre que mergulhamos mais a fundo nas pa Um solitário escritor de inconsequentes romances policiais recebe uma chamada a meio da noite, a pedir-lhe para investigar um caso policial. Envolvido numa trama de meias palavras e labirintos conceptuais, o escritor acaba por desvanecer-se nas ruas da cidade, deixando um caderninho cheio de notas que nos permite reconstituir a sua queda no esquecimento. Se olharmos para as profundezas de um texto, descobrimos sempre cadas vez mais níveis de complexidade sempre que mergulhamos mais a fundo nas palavras do texto. As histórias raramente são simples, embora o pareçam. Talvez seja por isto que textos como o corão ou a bíblia têm tanto significado: quanto mais são lidos, a mais interpretações se prestam. Cada leitor lê aquilo que entende ler. City of Glass é um texto profundamente complexo. Nele, as identidades dos personagens fundem-se e esfumaçam-se, como se de um sonho se tratasse. O protagonista, Daniel Quinn, é um escritor que após a morte da mulher e do filho deixou de escrever textos com siginificado e passou a debitar as aventuras de Max Work, prototípico detective privado dos estereótipos romances policiais. Nunca chegamos a saber como faleceu a mulher e o filho de Quinn; antes ficamos com a certeza de que a morte destes tornou-se o momento em que Quinn esquece a sua humanidade, passando a viver num mundo de sonhos. A solitária rotina de Quinn é interrompida por um misterioso telefonema. Do lado de lá da linha, uma voz feminina pede a ajuda do detective Paul Auster para um caso de vida ou morte. Quinn vê-se confundido com Auster, e acaba por ceder aos pedidos insistentes de ajuda. Encarnando-se na sua personagem de Max Work, e assumindo a identidade de Auster, Quinn encontra-se com Virgínia Stillman, que lhe pede ajuda para manter sob vigilância o pai de Peter Stillman, seu marido. Stillman havia sido confinado a um quarto pelo seu pai, também Peter Stillman, convencido que ele desaprenderia a linguagem humana e começaria a falar a língua de deus, de acordo com a teologia do século XVI e os textos de Henry Dark, secretário de John Milton e pregador na américa de mil e seiscentos. As acções de Stillman-pai resvalaram num total falhanço, que culminou na desaprendizagem da linguagem por Stillman-filho. Descobertos os maus tratos, Stillman pai é confinado à prisão, e Stillman filho é internado num hospício, onde Virgínia, saída de um casamento falhado, se casa com ele para o retirar do hospício e mostrar-lhe a realidade que durante anos lhe foi escondida. Quinn começa assim a vigiar Peter Stillman, que após a saída da prisão mantém-se numa rotina de passeios diários por nova yorque, a cidade sempre presente, recolhendo objectos deitados fora. Quinn, num esforço para compreender o porquê de Stillman, o que ele realmente é, começa a registar minuciosamente os percursos de Stillman, e ao traçá-los sobre um mapa apercebe-se que o vaguear de Stillman obedece a uma lógica própria. Os passeios aparentemente sem destino de Stillman formam letras ao serem traçados num mapa. Quinn acaba por travar conversas com Stillman, onde este lhe revela o seu projecto de invenção de uma nova linguagem. Para Stillman, controlar as palavras equivale a controlar o nosso destino. Stillman desaparece e Quinn contacta Paul Auster para lhe contar o sucedido e pedir ajuda. Mas Auster não é detective, é escritor, e não percebe o porquê da confusão. Mesmo assim, fica curioso. Perante a família de Auster, Quinn recorda-se da sua, e foge, regressando ao seu labirinto. Tenta contactar Virgínia, mas não consegue. Então instala-se num beco perto da casa de Stillman filho e começa a vigiar ininterruptamente o prédio, até se confundir com as sombras, as paredes e os caixotes de lixo. Entretido com a sua história policial, Quinn transforma-se num vagabundo, mais uma alma esquecida por entre as ruas da cidade. A história termina com o desaparecimento de Quinn. Paul Auster, ao investigar o apartamento abandonado de Peter Stillman, onde Quinn terá passado os últimos dias de que há conhecimento, descobre o caderninho de anotações de Quinn e tenta reconstituir o seu destino. Confusos? Esta é uma história de ilusões e confusões. Em City of Glass, os egos confundem-se, as personagens fundem-se em si mesmas. Quinn despe-se da sua personalidade e acaba por cair num mundo irreal de ilusões, que o leva à dissolução. Um pouco como um Dom Quixote dos tempos modernos (e D.Q. são as iniciais de Dom Quixote, esse arcaico caçador de sonhos esfumados). A solidão e o vazio da alma do homem contemporâneo produzem uma eterna perseguição de sonhos ilusórios que se desvanecem, esfumando-se nos precisos momentos em que pensamos agarrá-los. Parte da Trilogia de Nova Yorque, City of Glass foi "vítima" de uma adaptação para banda desenhada. Adaptar um texto com a complexidade e profundidade de City of Glass não foi tarefa fácil. O desafio partiu de Art Spiegelman, autor de Maus, o comic definitivo sobre o holocausto, e a adaptação recaiu sobre David Mazzucchelli, que em conjunto com Frank Miller revolucionou um personagem esquecido da Marvel, o Demolidor. Mazzucchelli contou com Paul Karasik para o ajudar a superar as dificuldades impostas por um texto como o de City of Glass. O livro encontra-se perfeitamente espartilhado numa grelha de seis vinhetas por prancha, entrecortadas, quando necessário, por vinhetas maiores. O rigor da disposição das vinhetas ajuda-nos a perceber a inexorabilidade do destino de Quinn, entrecortado com a planta geométrica da cidade de nova yorque, palco privilegiado desta história de dissolução num mundo anónimo de becos e ruas sem destino. As imagens mergulham-nos no mundo do livro, um mundo de ilusões que se esfumaçam. Subjacente a todo o livro está a cidade que lhe dá título, uma cidade de vidro que espelha o vazio que existe dentro do nosso ser.

  26. 4 out of 5

    Joana Veríssimo

    This book surprised me!! The story wasn't my favorite thing - if I had read the novel that inspired this graphic novel, the rating probably wouldn't be this high... but the story was done so well in graphic novel format The way art was used to tell a story, to (I suspect) show the rhythm of the writing, the visual and metaphors that probably existed in the novel... I just can't express how well art was used in this - it was done in a way I had never seen before, it was more than just telling you This book surprised me!! The story wasn't my favorite thing - if I had read the novel that inspired this graphic novel, the rating probably wouldn't be this high... but the story was done so well in graphic novel format The way art was used to tell a story, to (I suspect) show the rhythm of the writing, the visual and metaphors that probably existed in the novel... I just can't express how well art was used in this - it was done in a way I had never seen before, it was more than just telling you what happened, it explored the mind and writing as a process Really, if you like art, check out this book, because it was used in such an amazing way :)

  27. 5 out of 5

    Vilmos Kondor

    It's a truly wonderful adaptation an also wonderful novel which I'm not sure I "get" but I enjoyed it again in this form immensely. Mesmerizing artwork, evocative, precise, poetic, mysterious - as the novel itself.

  28. 4 out of 5

    Kat Stromquist

    Eerie and compelling.

  29. 4 out of 5

    Ben

    Stunning use of the graphic novel form, using all the formal options available to tell a story in a way that would be impossible in any other medium. Intrigued to read the original Auster novel now, I can't imagine it working nearly as well.

  30. 5 out of 5

    Bine

    Eine sehr eindringliche Geschichte mit viel Interpretationsspielraum. Kann man sich lange über das Lesen hinaus auf jeden Fall mit beschäftigen. Gerade die Adaption ist sehr interessant. Freue mich darauf, im Seminar mehr darüber zu erfahren.

  31. 5 out of 5

    Dennis Jacob Rosenfeld

    I was a young teenager when I first read the New York Trilogy and it blew my mind. Since then it has come to symbolize a certain period in my life. For this reason I have been cautious of this comic book version of City of Glass. When a friend send me a copy I decided to give it a shot. Boy am I sorry that I waited so long. This is absolutely brilliant. The book manages to keep the essence of the story while adding abstract imagery that compliments and heightens the written word. This is a perfe I was a young teenager when I first read the New York Trilogy and it blew my mind. Since then it has come to symbolize a certain period in my life. For this reason I have been cautious of this comic book version of City of Glass. When a friend send me a copy I decided to give it a shot. Boy am I sorry that I waited so long. This is absolutely brilliant. The book manages to keep the essence of the story while adding abstract imagery that compliments and heightens the written word. This is a perfect example of a graphic narrative adaptation of a novel. Highly recommended.

  32. 5 out of 5

    Diana

    ¡No creía que me iba a gustar tanto! Pero sí me gustó a pesar de que el estilo de Paul Auster no es uno de mis estilos favoritos. ¡De verdad que me impresionó!  

  33. 4 out of 5

    Ariya

    City of Glass or The New Babel is a pain in the ass for anyone who wants to find some meanings in life. The story is about a crime fiction writer accidentally receives a random phone call from a woman, having mistaken himself as another person named Paul Auster (a.k.a. the writer of this novel!?), to do the mysterious case with strange people involved. I can't say anything about the sub-sequential events after that. For me, it could be read like a post-modern detective novel. Beneath the surface City of Glass or The New Babel is a pain in the ass for anyone who wants to find some meanings in life. The story is about a crime fiction writer accidentally receives a random phone call from a woman, having mistaken himself as another person named Paul Auster (a.k.a. the writer of this novel!?), to do the mysterious case with strange people involved. I can't say anything about the sub-sequential events after that. For me, it could be read like a post-modern detective novel. Beneath the surface, it's an existential graphic novel, with heavy symbols, meta-narratives full of absurdity defying the meaning of life we often end up thinking it was. My favorite quote: "what Quinn liked about mysteries was their economy. There is no sentence, no words, that is not significant. Even if it not, it has the potential to be so. Everything becomes essence: the center of the book shifts, is everywhere..and no circumstances can be drawn until the end." This is the critical mark on top of the frequent quotes I found on the book which tends to draw me in the exact opposite direction. The whole story, later on, turns out to be the most pointless quest of the most pathetic man. The crucial scratches he is gathering on the way are up to no use, only the tool to tell another story he no longer lives or witnesses to tell. In the labyrinth, crime based location like New Work, the city of broken pieces, both glasses, which underlines the mental delusions, and people, we only seek for the better shell to become someone for some purposes. "there are those were forever on the move, as if it mattered where they are. It seems to me that I will always be happy in the place where I am not, or more bluntly, wherever I am not is the place where I am myself." The intertexuality also helps to create this masterpiece. The parable between Hamilton's Paradise Lost, a made-up sequel written after by Henry Dark, and this graphic novel is cleverly intertwined. For example, the paradox in the meaning of self-delusion as concluded as the theme is, in the worst possible way, that makes us to survive. I don't give it a full five star because I haven't quite understood the whole essence of this book yet. It takes me to another new level in reading something very difficult to understand in one sitting. Give me the text only, I'll try my best to understand. But with the visual arts and content, it becomes more painfully staggering long work to make peace with. I promise to pick it up to be fascinated more often. I add some helpful, but not friendly deep analysis for my future-self to read one day: An essay by Nicholas Dawson and this one

  34. 5 out of 5

    Alexandra Wall

    This graphic novel is a fun read, playing with the notion of identity and language being intertwined; the main character takes on other imagined personas simply by changing his name. Common to the original author, Paul Auster, City of Glass uses the premise of a classic detective story; the noir aesthetic is intriguing but could be expanded upon in its graphic novel format, practically begging for more illustrious artwork to enhance the meaning of the text. Readers will see quick, rapid use of s This graphic novel is a fun read, playing with the notion of identity and language being intertwined; the main character takes on other imagined personas simply by changing his name. Common to the original author, Paul Auster, City of Glass uses the premise of a classic detective story; the noir aesthetic is intriguing but could be expanded upon in its graphic novel format, practically begging for more illustrious artwork to enhance the meaning of the text. Readers will see quick, rapid use of symbolism in the panels, referring to the confusion of meaning and identity, and the importance of words. Auster's original influence is allowed to shine, as characters take his namesake and speak about his original theories regarding personal meaning. The characters struggle with language, feeling its limitations, but also being trapped by the fact that it is the only means of understanding, so their understanding is never complete. Moments of meta-writing are playfully executed, as the narrator of the story confronts his own story and purpose, and layers of writing about writing emerge. The characters become interestingly intertwined as the confusion escalates. However, the beginnings of the detective story plot line become lost among the existential pondering, and the story takes on the role of a larger commentary on meaning. It is, understandably - given its original author - an enjoyable story that relies more on its explorations than on its artwork and narrative arc.

  35. 4 out of 5

    Gitte

    There was nothing he could do now that would not be a mistake. The Beginning: It was a wrong number that started it … I read Paul Auster’s City of Glass about 10 years ago and loved it! It’s the story about an author whose life has come to a halt after losing his wife and son in an accident. A series of weird phone calls asking for Paul Auster awakens him slightly, and suddenly he finds himself ensnarled in an investigation. He becomes so involved that he loses whatever’s left of his life as h There was nothing he could do now that would not be a mistake. The Beginning: It was a wrong number that started it … I read Paul Auster’s City of Glass about 10 years ago and loved it! It’s the story about an author whose life has come to a halt after losing his wife and son in an accident. A series of weird phone calls asking for Paul Auster awakens him slightly, and suddenly he finds himself ensnarled in an investigation. He becomes so involved that he loses whatever’s left of his life as he knew it. It’s a brilliant and ambitious novel, one that I’ve wanted to reread for a long time. What better way to reread it than dive into the graphic novel? It was a wonderful revisit. I remembered much of the weird story and it was almost like meeting an old friend. I was a bit anxious at first: I was really excited about Auster when I first discovered his work, but have been slightly disappointed with his later work, as I’ve felt he’s repeating himself. Rereading one of his first stories brought ‘the real’ Auster back to me. It’s utterly brilliant. And the graphics were really cool – David Mazzucchelli’s black and white drawings are very atmospheric. For more reviews and book talk, please visit The Bookworm's Closet

  36. 4 out of 5

    Bob Redmond

    Auster's first novel proves exponentially more risky and rewarding than almost anything he's written since. A tightly-wound postmodern detective story, its subject is language itself. In short, a wrong number leads to writer Daniel Quinn taking on a case as a private eye. The subject of his investigation is a doddering old man who has threatened to kill his son. The old man, Peter Stillman, Sr., is a philosopher, and impresses Quinn to the point where he gets overly subsumed in the case. Whether o Auster's first novel proves exponentially more risky and rewarding than almost anything he's written since. A tightly-wound postmodern detective story, its subject is language itself. In short, a wrong number leads to writer Daniel Quinn taking on a case as a private eye. The subject of his investigation is a doddering old man who has threatened to kill his son. The old man, Peter Stillman, Sr., is a philosopher, and impresses Quinn to the point where he gets overly subsumed in the case. Whether or not the mystery is "solved" depends on the generosity of the reader, as Auster, a constructionist despite his postmodern tendencies, allows too many plot point unanswered, and requires a little too much suspension of disbelief. Also, many of all the principal characters are writers, half are independently wealthy, and many names are too cute. These are some of Auster's bad habits that he practices in nearly all his books. But this isn't completely an Auster book: this version is a graphic novel--an adaptation brought about thanks to Art Spiegelman, and drawn and edited by Paul Karasik, with David Mazzuchelli. The graphic artists give it so much dimension that the text-only version seems (in my memory) to be no more than a screenplay to this version's fully-realized presentation. (It was named one of the 100 best graphic novels of the 20th century by Comics Journal.) Karasik's drawing of a key monologue between Peter Stillman (Jr.) and Quinn is breathtaking. In it, his drawings are loosed from the literal dialogue, instead following the sound of the characters voice (a central issue to the plot). Karasik takes the same approach in a key scene in a diner; later in the novel with some images of destitute people (shown at ant-size, about to get crushed by a foot). For some scenes of walking in the city, Karasik provides some gorgeous illustrations with no dialogue at all. My favorite frame is one of Quinn following the elder Stillman through the city. Both are scribbling in their notebooks. It's a key image, and one which communicates a lot of Auster's drama with an economy of space--itself an Auster-ian trait. There's more: at an apartment buzzer, a random resident is named "Mark Polo." Again, very Auster, but probably a detail supplied by Karasik or Mazzuchelli. At a certain point, the investigator Quinn visits the real Paul Auster. The author is drawn true-to-life, which gives this little plot trick some added richness. Auster has always been a novelist of ideas, but the graphic novelists in this case help make this novel stronger by editing the text down and offering so much rich context with the images. Ironically, this provides an answer to Auster's query in the novel about the power and ultimate limits of language. * WHY I READ THIS BOOK: THE CITY OF GLASS is the first Auster book I read; I'd eventually read all his novels (except his most recent MAN IN THE DARK), his published poetry, and most of his essays. He used to be my favorite writer, but it has been a while since I felt the kind of excitement from an Auster book (probably since 2002's THE RED NOTEBOOK). This doesn't really qualify as new book from Auster (not least because it was first published in 1994), but I'll take it. I was prompted to pick it up because (a) I read a review in the New York times of MAN IN THE DARK, then (b) in the bookstore was a copy of Knut Hamsun's HUNGER, for which Auster had written the intro. (I had read Hamsun long ago, precisely because of that glittering intro.) I already had a couple other books, so I kept browsing, until (c) at the "Auster" section of the shelves, I saw the graphic novel version of CITY OF GLASS. (d) I remembered that I had bought that book at a used book store some time back, and when I got home I put aside the three books I was currently reading to take up CITY OF GLASS.

  37. 4 out of 5

    Tiffany

    This review has been hidden because it contains spoilers. To view it, click here. Wow. Simply put, this book was mind-blowing. There are so many parallels and symbols in this graphic novel that it becomes hard to keep track of them all. Even when you attempt to write down all of the novel's themes, it's difficult to see where one starts and another ends. They're all interrelated in some way; together, they form some philosophical remark about life (I haven't exactly deciphered the novel yet--I just finished it today) and kind of warp the way we perceive reality. The only thin Wow. Simply put, this book was mind-blowing. There are so many parallels and symbols in this graphic novel that it becomes hard to keep track of them all. Even when you attempt to write down all of the novel's themes, it's difficult to see where one starts and another ends. They're all interrelated in some way; together, they form some philosophical remark about life (I haven't exactly deciphered the novel yet--I just finished it today) and kind of warp the way we perceive reality. The only thing is, this novel is pretty disturbing as well. The plot line was strange, drawings of the people, eyes, and objects were creepy and the connections between the characters were also weird. (How's that for specificity?) Allow me to elucidate. Daniel Quinn is a thirty-five year old man whose wife and son had passed away. He wrote poems, plays, and essays when he was young, but suddenly stopped and became a mystery novelist because "a part of him had died and he did not want it haunting him". He called himself William Wilson and named his private-eye narrator Max Work. One day, he picks up the phone, assuming it was someone else... (to be continued) Themes: Eye -Max Work's business card (pg 8) has an eye on it--it's similar to the creepy eye character that appears throughout the book Ventriloquist/dummy -Wilson was the ventriloquist and Quinn was the dummy (8) -Narrator is the dummy and Auster (author) is the ventriloquist -Peter (young) looks like a dummy...the voice is coming from something within him Circles -The number 0 on the phone is a circle. -Quinn picks up the phone, assuming it was someone else, on his dead parents' anniversary --> Auster (character) rings in Quinn, assuming it was his wife - Zooming (in) -the telephone (1) -the drawing (18) -gate, drain, speaker (19) (out) - Notable Phrases: -"There is no sentence, no word that is not significant. And even if it is not, it has the potential to be so. Everything becomes essence: the center of the book shifts, is everywhere and no circumference can be drawn until the end" (7) -"If this is really happening, then I must keep my eyes open" (13) -"This is called speaking. The words come out for a moment and die"(15) -"I am new every day. I am born when I wake up in the morning, I grow old during the day, and I die at night"(18) - Revelations: -The name "Stillman" sounds like "still man" as in a dead man? -Peter was in a dark room with not even a window and ate with his hands --> Quinn ends up this way at the end Conclusion: The pictures add a whole new dimension to Paul Auster's City of Glass. Some similarities and connections throughout the book are a bit easier to see, while some aspects, such as the weird one-eyed visionary(?) character, still confuse me.

  38. 5 out of 5

    Jace

    I was a little surprised to see this on the "Graphic Novel" bookcase at the library--because I'm still not convinced it needed to be re-writeen in comic form--but as thin as it is, I decided to check it out. I liked Auster's original City of Glass, but looking back that may have been because I was reading it for a class on Post-Modernism and was going to have to discuss it for 3 weeks anyway so I figured I might as well try and enjoy it. This book was a fine read; my only reservation is that it I was a little surprised to see this on the "Graphic Novel" bookcase at the library--because I'm still not convinced it needed to be re-writeen in comic form--but as thin as it is, I decided to check it out. I liked Auster's original City of Glass, but looking back that may have been because I was reading it for a class on Post-Modernism and was going to have to discuss it for 3 weeks anyway so I figured I might as well try and enjoy it. This book was a fine read; my only reservation is that it didn't need to exist in the first place. Having read both works, I just don't see how the story benfits from being told via comic book--ahem--"graphic novel". City of Glass doesn't rely on much visual imagery, so the art falls a little flat. Many of the drawings are lackluster and unimpressive. Far too many of the panels are just a string of zoom-ins on incidental objects like a telephone, sewer grate, or a discarded yo-yo. The adapters do a good job condensing Auster's novel into 130 pages of comic book panels, but their only real accomplishment is abridging the story into a quick 30 minute read. They retain most of the low-key metaphysical mystery elements while skimming over some of Auster's self-important post-modern musings. Ultimately, though, this book fails just the way the original novel did. Auster runs out of steam and doesn't know how to close the book, so he has the protagonist go crazy and vanish. The interesting issues about identity, language, and religion that he brought up during the novel were thrown to the wayside without any further discussion. I'm sure Auster and his supporters would say that the ending was "post-modern" and that I just don't "get it", but the emptiness in that argument is matched only by the laziness of the conclusion.

  39. 4 out of 5

    Em León

    "Todo empezó con un número equivocado" Así es como arranca el universo que #PaulAuster te plantea. Quinn, bajo el seudónimo de William Wilson escribia novelas policíacas, un día recibe una llamada de auxilio donde suponían que él era un detective, la trama inicia cuando Quinn decide fingir ser dicho detective. La historia es un tumulto de eventos fortuitos, el juego de identidades me confundió un poco al inicio, pero luego caí de que es lo propio en la narrativa del autor, la psicología de cada uno "Todo empezó con un número equivocado" Así es como arranca el universo que #PaulAuster te plantea. Quinn, bajo el seudónimo de William Wilson escribia novelas policíacas, un día recibe una llamada de auxilio donde suponían que él era un detective, la trama inicia cuando Quinn decide fingir ser dicho detective. La historia es un tumulto de eventos fortuitos, el juego de identidades me confundió un poco al inicio, pero luego caí de que es lo propio en la narrativa del autor, la psicología de cada uno de los personajes es lo que me quemó el coco, emociones como la angustia y la soledad prevalecen en una constante que logra convencerte en cómo una persona fácilmente puede perder la razón. #LaCiudadDeCristal es una de las lecturas más extrañas que he leído, sinceramente ese efecto me gusta. Y esta adaptación gráfica es maravillosa, muy bien lograda para mi, viniendo de una naturaleza bastante rara. ⭐⭐⭐⭐ De 5

  40. 5 out of 5

    Meran

    I've not read the prose edition of this novel, so I can't fairly compare them to each other. The story itself is a puzzle.. Who is Paul Auster? Why does Peter Stillman (Jr) phone him repeatedly? Where did Peter get Daniel's number? When Peter Sr turns up in the City, Peter sees a younger version peel off of him... why does Peter follow the older version and where did the younger one go? Why does Peter Jr's wife truly act as she does? These are all mysteries, to be sure. Daniel sees his losses in j I've not read the prose edition of this novel, so I can't fairly compare them to each other. The story itself is a puzzle.. Who is Paul Auster? Why does Peter Stillman (Jr) phone him repeatedly? Where did Peter get Daniel's number? When Peter Sr turns up in the City, Peter sees a younger version peel off of him... why does Peter follow the older version and where did the younger one go? Why does Peter Jr's wife truly act as she does? These are all mysteries, to be sure. Daniel sees his losses in just about every one he meets, when he finally leaves his flat. He's very attracted to the Homeless of the City. "Don Quixote" by Cervantes is referred to throughout. I think this story is patterned on that book. Since it's one of the novels I have never read, I believe that my understanding of this story is incomplete. That, of course, makes my review rather flawed.

  41. 4 out of 5

    Aryeh

    This is quite possibly a perfect example of how a graphic novel can tell a different (and in my opinion better in this case) story than the original work by introducing pictures to the words. In this first illustrated book of Paul Auster's New York trilogy (mid 1980s noir mystery series), Auster himself becomes a character in his own book via illustrator adaptation. Running the gamut of common noir novel character types, the reader is introduced to a madman (or is he sane?), a stable and sane de This is quite possibly a perfect example of how a graphic novel can tell a different (and in my opinion better in this case) story than the original work by introducing pictures to the words. In this first illustrated book of Paul Auster's New York trilogy (mid 1980s noir mystery series), Auster himself becomes a character in his own book via illustrator adaptation. Running the gamut of common noir novel character types, the reader is introduced to a madman (or is he sane?), a stable and sane detective (or is he a writer? or is he insane?), someone's buxom wife (or is she a prostitute?), a brilliant professor (or is he a murderer?), and finally the City of Glass (New York, of course...but is it possibly the City of Brick as it becomes several times in the drawing). Great example of place as character, and great writing and drawing all around. 5 stars, easy.

  42. 4 out of 5

    Mark

    I serendipitously picked this newer edition (which is worth getting for the new Spiegelman Introduction) up from a dollar pile in a used bookshop this morning, and took a few hours this afternoon to re-read it--coming back to it 15 years after its publication. The book has aged well--and I may have appreciated it more on a second reading. Auster's meditation on meaning (both language and life) is brilliantly captured via Karasik and Mazzuchelli's graphic "adaptation," a puzzling and engaging wor I serendipitously picked this newer edition (which is worth getting for the new Spiegelman Introduction) up from a dollar pile in a used bookshop this morning, and took a few hours this afternoon to re-read it--coming back to it 15 years after its publication. The book has aged well--and I may have appreciated it more on a second reading. Auster's meditation on meaning (both language and life) is brilliantly captured via Karasik and Mazzuchelli's graphic "adaptation," a puzzling and engaging work that ultimately collapses in on itself, taking the reader with it, and leaving more questions than answers (as good "magical realist" books should).[1:] 1. OK, I'm not committed to filing Auster under "magical realism" either, but is there a better general descriptor? Isn't he to some extent the best magical realist of the modern urbis?

  43. 5 out of 5

    Marc Gerstein

    A solid graphic adaptation of a novel I really enjoyed. Here's a copy of my Goodreads review of that work: This could so easily have been a mess but Auster makes it work and turns it into a delightful read. Daniel Quinn, the protagonist writes detective novels under the pseudonym William Wilson and the protagonist of these novels is Max Work. Quinn gets a phone call from someone trying to reach Paul Auster (yeah, that Paul Auster) to hire him for some detective work. At first Quinn says he’s not A solid graphic adaptation of a novel I really enjoyed. Here's a copy of my Goodreads review of that work: This could so easily have been a mess but Auster makes it work and turns it into a delightful read. Daniel Quinn, the protagonist writes detective novels under the pseudonym William Wilson and the protagonist of these novels is Max Work. Quinn gets a phone call from someone trying to reach Paul Auster (yeah, that Paul Auster) to hire him for some detective work. At first Quinn says he’s not Paul Auster but soon relents and takes the case. If you wonder how he’ll deposit a fee check made out to Paul Auster, you’re not alone; it occurs to Quinn also. I’ll, stop here so as to avoid spoilers. Suffice it to say if you relax and go with the flow, you’ll enjoy.

  44. 4 out of 5

    nad

    i was supposed to read the book but accidentally borrowed the graphic novel from the library haha. it's pretty symbolic and at times confusing but i for one really liked the art style and how it added to the story. short and impressive i guess. 3.5/5 stars

  45. 4 out of 5

    Josh

    Paul Karasik and David Mazzuchelli's adaptation of Auster's novella is 138 pages of pure gold. Working from a nine-panel grid, City of Glass tells the haunting, lonely tale of writer Daniel Quinn. Mistaken for a private detective, Quinn finds himself assigned to protect a man from his own father. In the course of the story, Quinn assumes more names and personae, eventually losing his own identity. The comic progressively reflects this deterioration: the panels tumble and shift, Mazzuchelli's bru Paul Karasik and David Mazzuchelli's adaptation of Auster's novella is 138 pages of pure gold. Working from a nine-panel grid, City of Glass tells the haunting, lonely tale of writer Daniel Quinn. Mistaken for a private detective, Quinn finds himself assigned to protect a man from his own father. In the course of the story, Quinn assumes more names and personae, eventually losing his own identity. The comic progressively reflects this deterioration: the panels tumble and shift, Mazzuchelli's brushstroke becomes wild, expressionist, filled with horror. City of Glass is a tour-de-force, in many ways a more eloquent primer on the form than Scott McCloud's Understanding Comics.

  46. 4 out of 5

    Emilio

    ¿Lo he leído antes? Me encanta Paul Auster (y este me lo ha recordado) y creo que la historia la conocía o es ya un cliché porque me sonaba durante todo el rato. Incluso los diálogos. Una buena historia, muy bien narrada. Los típicos altibajos en el ritmo según el ánimo del protagonista se agradecen porque te sumergen en la historia. Cuando lo terminas piensas: Y si... pues sería otro libro diferente. Este es sobre la locura, la propia y la ajena. La historia de un detectiva que investiga a un exc ¿Lo he leído antes? Me encanta Paul Auster (y este me lo ha recordado) y creo que la historia la conocía o es ya un cliché porque me sonaba durante todo el rato. Incluso los diálogos. Una buena historia, muy bien narrada. Los típicos altibajos en el ritmo según el ánimo del protagonista se agradecen porque te sumergen en la historia. Cuando lo terminas piensas: Y si... pues sería otro libro diferente. Este es sobre la locura, la propia y la ajena. La historia de un detectiva que investiga a un excéntrico que le termina recordando mucho a sí mismo. Genial y altamente recomendable.

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