Synopsis
The remarkable, acclaimed series of interconnected detective novels - from the author of 4 3 2 1: A Novel The New York Review of Books has called Paul Auster's work "one of the most distinctive niches in contemporary literature." Moving at the breathless pace of a thriller, this uniquely stylized triology of detective novels begins with City of Glass, in which Quinn, a mystery writer, receives an ominous phone call in the middle of the night. He's drawn into the streets of New York, onto an elusive case that's more puzzling and more deeply-layered than anything he might have written himself. In Ghosts , Blue, a mentee of Brown, is hired by White to spy on Black from a window on Orange Street. Once Blue starts stalking Black, he finds his subject on a similar mission, as well. In The Locked Room , Fanshawe has disappeared, leaving behind his wife and baby and nothing but a cache of novels, plays, and poems., The remarkable, acclaimed series of interconnected detective novels City of Glass, Ghosts, and The Locked Room, from New York Times bestselling author Paul Auster "Exhilarating . . . a brilliant investigation of the storyteller's art guided by a writer-detective who's never satisfied with just the facts."-- The Philadelphia Inquirer City of Glass: As a result of a strange phone call in the middle of the night, Quinn, a writer of detective stories, becomes enmeshed in a case more puzzling than any he might have written. Ghosts: Blue, a student of Brown, has been hired by White to spy on Black. From a window of a rented room on Orange Street, Blue keeps watch on his subject, who is across the street, staring out of his own window. The Locked Room: Fanshawe has disappeared, leaving behind his wife and baby and a cache of extraordinary novels, plays, and poems. What happened to him and why is the narrator, Fanshawe's boyhood friend, lured obsessively into his life? Moving at the breathless pace of a thriller, this is a uniquely stylized trilogy of detective novels that The Washington Post Book World has classified as "post-existential private eye. . . . It's as if Kafka has gotten hooked on the gumshoe game and penned his own ever-spiraling version."
