The idea of a wrong number intrigued me and, because it happened to concern a detective agency, it somehow seemed inevitable that my story should have a detective element to it. It triggered the first novel, City of Glass. In The Red Notebook, I describe the phone call I received from the person who wanted to talk to the Pinkerton Agency. Paul Auster: They come out of material I’d been thinking about and working on for many years.
Jan Kjærstad is quite right to describe it as a “crystal that refracts light into colors that have rarely been seen before.” What prompted these strange stories? The reader is at once drawn into the world of detection and obsessive surveillance only to find him- or herself thoroughly taken in by the existential and literary mysteries you put before us in the three short novels- City of Glass, Ghosts, and The Locked Room-that form the Trilogy. Inge Birgitte Siegumfeldt: The New York Trilogy is probably your most widely read book, principally, I think, because it breaks new ground through the unique combination of exploration, captivating story, and reflection that characterizes much of your work. And whatever the man called each living creature, that was its name.
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