New York Trilogy books in order

Complete New York Trilogy reading order by Paul Auster. All 3 novellas from City of Glass to The Locked Room.

Reading order

# Title Published Author Buy on Amazon
1 City of Glass 1985 Paul Auster Buy
2 Ghosts 1986 Paul Auster Buy
3 The Locked Room 1986 Paul Auster Buy

The New York Trilogy is Paul Auster’s best-known work, three novellas published between 1985 and 1986 that use the conventions of detective fiction to explore identity, language, and the act of writing itself. The books are connected by theme and atmosphere rather than shared characters or a continuous plot.

City of Glass (1985) follows Daniel Quinn, a mystery writer who answers a phone call meant for someone named “Paul Auster” and takes on a case that pulls him into an obsessive surveillance of a man walking the streets of Manhattan. Ghosts (1986) reduces the detective story to its barest elements: a man named Blue is hired by White to watch a man named Black. The Locked Room (1986) is the most personal of the three, in which the narrator’s childhood friend Fanshawe disappears, leaving behind a wife, a newborn child, and a stack of unpublished manuscripts. Together, the three novellas form one of the most distinctive works of postmodern American fiction.

Frequently Asked Questions

What order should I read the New York Trilogy?

Read in publication order: City of Glass (1985), Ghosts (1986), and The Locked Room (1986). The three novellas share themes and echoes rather than a continuous plot, but reading them in sequence gives the strongest effect.

What is the New York Trilogy about?

The three novellas use detective story structures to explore questions of identity, authorship, and observation. City of Glass follows a writer who assumes a detective’s identity. Ghosts is a stripped-down allegory about watching and being watched. The Locked Room is about a narrator drawn into the life of a vanished friend.

Is the New York Trilogy actually a detective series?

Not in the traditional sense. Each novella begins like a detective story but the mysteries are never solved in conventional ways. Auster uses the genre’s framework to ask philosophical questions about who we are and how we construct meaning from incomplete information.

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