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Paul Auster Kilitli Oda’da kahramanlarını soyut ya da somut kilitli odalara sokarak, özgürlüklerini ancak oradan kaçmakla elde edebilecekleri bir dünya kuruyor. Romanın kahramanı, romancı olmayı isteyen ama o yaratıcı yeteneğe sahip olmayan biri. Umutsuzluğunun son noktasIna geldiği sırada çocukluk arkadaşı olan ama uzun zamandır görmediği bir yazar, geride karısını, çocuğunu ve kilit altında sakladığı roman, oyun ve şiir dosyalarını bırakarak ortadan kayboluyor. Romancı olmaya heveslenen kahramanımız kaybolan kişinin kimliğiyle özlediği şan ve şöhrete kavuşabilir mi? yoksa kendi kurduğu bir tuzağın tutsağı mı olur? Paul Auster polisiye tadındaki bu romanında benliğin kilitli kapılarını zorluyor.

144 pages, Paperback

First published January 1, 1986

About the author

Paul Auster

287 books11.6k followers
Paul Auster was the bestselling author of 4 3 2 1, Bloodbath Nation, Baumgartner, The Book of Illusions, and The New York Trilogy, among many other works. In 2006 he was awarded the Prince of Asturias Prize for Literature. Among his other honors are the Prix Médicis Étranger for Leviathan, the Independent Spirit Award for the screenplay of Smoke, and the Premio Napoli for Sunset Park. In 2012, he was the first recipient of the NYC Literary Honors in the category of fiction. He was also a finalist for the International IMPAC Dublin Literary Award (The Book of Illusions), the PEN/Faulkner Award (The Music of Chance), the Edgar Award (City of Glass), and the Man Booker Prize (4 3 2 1). Auster was a member of the American Academy of Arts and Letters and a Commandeur de l’Ordre des Arts et des Lettres. His work has been translated into more than forty languages. He died at age seventy-seven in 2024.

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Displaying 1 - 30 of 410 reviews
Profile Image for Vit Babenco.
1,610 reviews4,741 followers
June 12, 2021
The Locked Room is a book of a substitute or of a changeling if you wish.
A man occupies the place that doesn’t belong to him…
In general, lives seem to veer abruptly from one thing to another, to jostle and bump, to squirm. A person heads in one direction, turns sharply in mid-course, stalls, drifts, starts up again. Nothing is ever known, and inevitably we come to a place quite different from the one we set out for.

I believe everyone has one’s own Heart of Darkness place where one must go to meet one’s dark alter ego or one’s adversarial ego to fight it and win… or be defeated.
Profile Image for Glenn Russell.
1,461 reviews12.7k followers
January 21, 2019


“It seems to me now that Fanshawe was always there. He is the place where everything begins for me, and without him I would hardly know who I am.” So begins The Locked Room, Paul Auster’s final novel in his New York Trilogy (City of Glass is Volume 1 and Ghosts is Volume 2) wherein an unnamed first person narrator tells the tale using the simple, straightforward language of detective fiction. In this way, the novel makes for easy peasy, enjoyable reading.

But underneath this hard-boiled linguistic skin, oh my goodness, we encounter the narrator, a writer by profession, navigating the choppy waters of passion and commitment, forever brooding on an entire range of topics: life and death, self and other, childhood and memory, friendship and fatherhood, love and hate, reading and writing, self-definition and self-identity.

In a strange, offbeat way, all the philosophic reflections and ruminations give Auster’s short novel an irresistible drive. Fanshawe was a writer, leaving boxes of novels, journals, poetry and plays to be read and judged. Fanshawe also leaves his beautiful wife, Sophie, and his baby boy. Sophie contacts the narrator, who was Fanshawe’s dearest friend, to do the reading and judging. To tell more than these few facts would be to tell too much. Let me simply say that once I started reading The Locked Room, I couldn’t put it down.


American author Paul Auster, born 1947
Profile Image for Ahmad Sharabiani.
9,563 reviews438 followers
February 9, 2019
219. The Locked Room (The New York Trilogy, #3), Paul Auster
The New York Trilogy is a series of novels by Paul Auster. Originally published sequentially as City of Glass (1985), Ghosts (1986) and The Locked Room (1986), it has since been collected into a single volume.
The Locked Room is the story of a writer who lacks the creativity to produce fiction. Fanshawe, his childhood friend, has produced creative work, and when he disappears the writer publishes his work and replaces him in his family. The title is a reference to a "locked room mystery", a popular form of early detective fiction.
سه گانه نیویورک: شهرِ شیشه ای، ارواح، اتاق دربسته، نویسنده: پل استر (اوستر)، نشر (افق) ادبیات، تاریخ نخستین خوانش: ماه نوامبر سال 2010 میلادی
عنوان: اتاق در بسته؛ نویسنده: پل آستر؛ مترجم: شهرزاد لولاچی؛ تهران، افق، 1383؛ در 175 ص؛ شابک: ایکس - 964369156؛ چاپ دوم 1385؛ سوم 1387؛ موضوع: داستانهای نویسندگان امریکایی - سده 20 م
سه گانه ی نیویورک، سری سه رمان، از نویسنده ی پست مدرن آمریکایی: پل استر است. این سه رمان، که هر کدام داستان جنایی و شخصیت‌های داستانی مجزایی از هم دارند، تنها به سبب مکان مشترک رخدادها، سه گانه را تشکیل داده اند. عنوانهای این سه رمان: «شهر شیشه ای»، «ارواح»، و «اتاق دربسته» هستند. در اتاق در بسته: «فنشاو» ناپدید شده، و از ایشان چند داستان، شعر و نمایشنامه، بر جای مانده است. راوی داستان که دوست دیرین فنشاو است، بر اساس وصیت دوست پیشین خویش، باید دستنوشته های فنشاو را چاپ کند. ادامه را خود بخوانید. ا. شربیانی
Profile Image for Mohammad Ali Shamekhi.
1,096 reviews292 followers
December 14, 2016

شک دارم که بهش دو و نیم ستاره بدم یا همین سه تا خوبه؛ چون به نظرم حضور پررنگ و پررنگ تر فنشاو در زندگی شخصیت اصلی اونجوری که باید توجیه نشده بود؛ یه اغراقی بود در احساساتش نسبت به فنشاو

پل استر در اواخر کتاب در مورد سه گانه ی نیویورک حرفی می زنه که من متوجه منظورش نمی شم و امیدوارم نقدی چیزی این بیان استر رو روشن کنه. استر می گه

The entire story comes down to what happened at the end, and without that end inside me now, I could not have started this book. The same holds for the two books that come before it, City of Glass and Ghosts. These three stories are finally the same story, but each one represents a different stage in my awareness of what it is about

به طور خاص منظورم جمله ی آخره - اینکه این داستان ها مراحل مختلف آگاهی نویسنده ان

* ترجمه

ترجمه ��هرزاد لولاچی همونطور که ذیل کتاب اول سه گانه ی نیویورک یعنی شهر شیشه ای گفته بودم بی ایراد نیست اما ایراداش با یه ویرایش درست می شن و ریشه ای نیستن. اما به هر حال باید مواظب بود. مثلا یکی از جاهایی که لولاچی کلا گیج زده در ترجمه ی این عبارته

I liked names associated with the sky - Orville Wright, Amelia Earhart - , with silent humor - Keaton, Langdon, Lloyd - , with long homeruns - Killebrew, Mantle, Mays - , and with music - Schubert, Ives, Armstrong

مترجم اینجوری ترجمه کرده

به خصوص از اسم هایی که آسمان را تداعی می کردند خوشم می آمد - اورویل، رایت، آملیا ارهارت - ، آنهایی که طنزی درشان پنهان بود - کیتن، لنگدون، لوید - ، اسامی اشیای موجود در خانه - کیل برو، منتل، میز - و آن ها که آهنگین بودند -شوبرت، ایوز، آرمسترانگ

اگر مترجم کمی درباره این اسامی جستجو می کرد - در حد یک گوگل - و بیشتر به دیکشنری نگاه می کرد، چنین اشتباهات فاحشی رو مرتکب نمی شد. نویسنده از اسامی ای"که طنزی درشان پنهان" است سخن نمی گوید بلکه از اسامی کمدین های سینمای صامت حرف می زند؛ از "اسامی اشیای موجود در خانه" سخنی نمی گوید بلکه از اسامی بازیکنان بیسبال حرف می زند - هومران از اصطلاحات تخصصی بیسبال است و ربطی به وسایل خانه ندارد؛ و در نهایت صحبتی از اسامی آهنگین نیست بلکه منظور او اسامی کسانی است که با موسیقی سروکار دارند
Profile Image for Peiman.
569 reviews161 followers
January 7, 2024
سه‌��انه نیویورک
جلد سوم: اتاق در بسته
داستان کتاب سوم از سه‌گانه‌ی نیویورک جایی شروع میشه که همسر یکی از دوستان قدیمی راوی داستان بهش زنگ میزنه و اطلاع میده شوهرش فنشا مدت هاست که گم شده و البته احتمال میده که مرده باشه و درخواست می‌کنه که یک دیدار حضوری داشته باشند. در این دیدار حضوری راوی متوجه میشه که فنشا چند رمان و نمایشنامه و شعر نوشته و از همسرش خواسته چاپ شدن یا نشدن و کلا تصمیم در مورد این نوشته ها رو به راوی داستان محول کنه. خلاصه همه چیز طبق روال پیش میره تا جایی که راوی تصمیم میگیره زندگینامه‌ی فنشا رو بنویسه و این شروعی دوباره برای پیدا کردن و شناختن فنشا میشه. این کتاب از سه کتاب قبلی بهتر بود.ه
December 20, 2018
It took me much longer to read this than necessary. For a few reasons probably. But they're all irrelevant now. What is done is done, and my reading of this book is done.
The Locked Room is the final installment of Paul Auster's brilliant metafictional postmodern mess of tragic and unique subversive-by-design mystery tales known as The New York Trilogy. It is a really short book, but ir has a lot in it for you to take in, but at the same time it doesn't really. Fitting for this series of novels, this final chapter pieces together a few parts of Paul's puzzling drama, but then decides to leave things intentionally murky by the end. It very much reflects the first installment of the trilogy (which I, admittedly, still believe to be by far the best entry), there are not only some references to it, whether they be direct or indirect, but some moments and themes which directly mirror it. The relationships are somewhat similair, except this one is told from a slightly alternate perspective. This is told from the guy who gets the better end of the deal...only to make the novel feel even more tragic in the end. Somehow.
Profile Image for Carolina Quintero.
109 reviews110 followers
February 2, 2021
Cada vez que uno lee algo de Paul Auster descubre que su intención siempre será generar un sin sabor en sus historias, que aparentemente quedan inconclusas pero que en realidad cada final queda abierto a lo que el lector quiera interpretar, a que seamos nosotros mismos quienes le demos el desenlace que queramos a cada libro, creo fielmente que todas absolutamente todas las obras de Auster se conectan entre sí. No tiene pierde este escritor cuando logras entender qué es lo que pretende.
54 reviews7 followers
July 18, 2009
Oh God, my brain...
Profile Image for Farnoosh Farahbakht.
63 reviews353 followers
December 23, 2015
اتاق دربسته سومین قسمت از معروفترین اثر "پل استر" یعنی "سه گانه نیویورک" است.کتاب ماهیت معمایی دارد و بیشتر حول شخصیت دو نفر است. "فنشاو" که شخصیتی بسیار پیچیده و مرموز دارد و در ابتدای کتاب می خوانیم که ناپدید شده است و از او چند داستان و شعر و نمایشنامه به جا مانده و راوی داستان که دوست قدیمی "فنشاو" است و با وجود چندین سال عدم ارتباط طبق وصیتش مامور می شود تا دست نوشته های او را به چاپ برساند. در ابتدای کتاب این حس را پیدا کردم که با یک کتاب کاراگاهی سر و کار دارم اما کم کم جستجوهای راوی برای پیدا کردن "فنشاو" به جستجو برای شناخت هویتش که به این دوست قدیمی گره خورده بود تبدیل شد.و در آخراینکه برای داشتن تصویر بهتری از دنیای "استر" حتما باید سراغ دو کتاب قبلی "سه گانه نیویورک" یعنی "شهر شیشه ای" و "ارواح" برم
Profile Image for Leo Walsh.
Author 3 books124 followers
July 26, 2015
People love Auster's New York Trilogy. I can see why... they are all about losing your way while trying to discover the CAPITAL 'T' Truth. Better still, Auster wrote the screenplay to one of my favorite movies, "Smoke." Which was warm and quirky, edgy and yet... conventional.

Sort of like "American Splendor" ... real life told slant.

Oddly, I disliked the first two novels of the trilogy. They were novels tracing detached, monk-like people through some very odd plots. Starting in relatively realistic "life," these books traced people's descents into intellectual obsession and madness. The problem was that there was nothing "to" the protagonists in those books. They were empty facades who drifted, without motivation or visceral reaction, from event to event.


So I did not come to "The Locked Room" expecting much. But this is the most realized of the three novels. In it, the protagonist, while still detached and monkish, is deeply connected to reality -- which saves him from going over the deep-end. He marries, and has children. And while this narrator begins to "fall into the void" like Auster's protagonists in the first two novels (Quinn and Blue), his attachments rescue him.

Still, I cannot help but say that the entire trilogy disappointed me. I found the overall sense more like reading a logic puzzle than meeting characters in a novel. And while the ideas Auster plays with are fun -- the difference between a text about reality and the reality itself, and how we maintain identities in ambiguous situations -- the way Auster tries to pull this off did not engage my heart.

But that's just me. And as always when you dislike any well-regarded book, it may highlight gaps in myself more than gaps in the book. (As a confession, I have read "Moby Dick" three times since I disliked the book... to question my own reaction. And I still do not like it...)

On the up-side, Auster writes clean, precise, easy-to-read prose. He's even more lean than Hemingway in my opinion. You can zip through these books in an afternoon. I would recommend it to people who like thought-provoking, philosophic fiction. And remember -- my negative voice is the dissenting opinion. Since most well-read critics love Auster and his trilogy more than I.
Profile Image for merixien.
629 reviews522 followers
March 13, 2022
Kırmızı Defter’i okumamak gibi bir ihtimal yok artık.
Profile Image for mona aghazade.
142 reviews42 followers
March 5, 2019
باید بگم قبل این کتاب با پل آستر زیاد آشنا نبودم اما تو این کتاب از نثرش خوشم اومد
من این کتاب و به صورت صوتی و تو مسیر گوش دادم و لذت بردم
اگه 5 ندادم به این علت بود که آستر تو شخصیت فنشاو خیلی اغراق کرده بود - به صورت عامیانه بگم - یه بتی از فنشاو ساخته بود
ولی خوب بی انصافیه بگم که خوب نبود
Profile Image for Bob Redmond.
196 reviews72 followers
July 20, 2010
The third volume in Auster's New York Trilogy, like the two that preceded it, explores the same thematic ground--self and other, authorship and audience, truth and fiction--with the same fusion of pot-boiler crime novel and philosophical essay.

The plot in this one involves a prodigiously talented writer and his boyhood friend, a critic. The writer disappears and a narrative tango ensues--not just involving characters and plot points within THE LOCKED ROOM, but with reference and motifs from the previous volumes. Towards the end of the book, the narrator references those books by name and his intentions writing them: (p. 149) "These three stories are finally the same story, but each one represents a different stage in my awareness of what it is about… the story is not in the words; it's in the struggle."

Rather that create a grand concluding statement, then, THE LOCKED room twists, like the spiral of a conch shell, towards what Calvino calls "the ocean of the unsayable." One highlight along the way is Chapter 5, in which Auster--still a younger novelist (he was 39; the Trilogy was his first major fictional work)--writes passionately about making up stories vs. telling true ones. He tells several "strange but true" tales, such as the one in which Russian writer Bakhtin, in hiding during WWII, used his manuscript to roll tobacco, rather than go without smoking. One cannot help imagine a grad-student version of Auster discovering and collecting these stories until he might use them in a novel one day.

In some later books Auster's apparent enthusiasm would wane, and his storytelling become repetitive. Here, however, despite the existential angst of some of his characters, the struggles to discover an authentic voice, to tell and end a story, are a pleasurable pain and an ultimately life-affirming invitation.

*

WHY I READ THIS BOOK: Through a series of chance happenings, I was moved to re-read the series of books. See the review for CITY OF GLASS for details.


Profile Image for Keith Bruton.
Author 2 books101 followers
November 26, 2022
My least favourite of the three. Too slow for me. It could have been so much better but fell flat.
Profile Image for Rebecca.
3,935 reviews3,257 followers
February 11, 2020
(3.5) While most of the New York Trilogy is told in the third person, this is a first-person narrative that seems to pick up where City of Glass left off. It begins in 1977, when the unnamed narrator gets a letter from Sophie Fanshawe, the wife of his childhood best friend, telling him that Fanshawe disappeared six months ago, and despite the best efforts of the detective Quinn (the main character in CoG; the narrator also later encounters Peter Stillman on a trip to Paris), no trace of him can be found. The narrator has been named Fanshawe’s literary executor and takes it upon himself to get the man’s unpublished work out into the world: plays are produced, novels are published. He also starts writing a biography of the friend he always envied. It’s more like he’s becoming Fanshawe, especially when he marries Sophie. Doubling has been a big theme of the trilogy, and here the metaphorical kill-or-be-killed situation seems to turn literal at the conclusion, which I didn’t particularly understand.

The metafictional element of this novel is that Fanshawe’s early life is a lot like Paul Auster’s as revealed in Winter Journal, while Sophie’s resembles his wife Siri Hustvedt’s (and the author pair would later name their daughter Sophie). Ghosts added nothing for me; nor did this one particularly. You could easily stop after City of Glass. For the trilogy as a whole it’s 3.5*.
Profile Image for Yasmine Alishzadeh.
38 reviews15 followers
March 31, 2021
صرفا یک کتاب جالب. با نخواندن این کتاب چیزی از دست نمی دهید.
Profile Image for Marisol.
821 reviews67 followers
November 7, 2023
Con este libro se cierra la trilogía de Nueva York, y debo decir que de las tres historias es la más convencional, la que más se acerca a la estructura regular de una novela.

La historia se puede dividir en dos partes, en la primera podría tratarse de una novela en sí misma y catalogarse de romántica, pero como el mismo autor advierte, el no escribe ese tipo de novelas, por eso existe la segunda parte.

En la primera parte nuestro narrador nos cuenta de Fanshawe, un amigo de la infancia al cual dejó de ver hace varios años, un día recibe carta de una Sophie Fanshawe, quien resulta ser esposa de su amigo.

En una reunión extraña Sophie le cuenta, que Fanshawe ha desaparecido, pero dejó escritos que nunca quiso publicar, pero en caso de que el no estuviera, Sophie debería buscar a su amigo de antaño y pedirle ayuda, a partir de aquí se desarrolla una historia de amor y éxito, donde nuestro narrador logra publicar los trabajos de Fanshawe y quedarse con la chica, Sophie.

Pero esto nada más es el preámbulo de la verdadera historia, pues atraído por el misterio de la desaparición de Fanshawe nuestro narrador sin decirle a Sophie se embarca en una búsqueda incesante e infatigable tras su amigo, y nosotros vamos viendo que en esa búsqueda en lugar de encontrar a Fanshawe se va perdiendo a sí mismo, cada vez un poco más, ademas empiezan a aparecer referencias a personajes y objetos que aparecen en Ciudad de Cristal y Fantasmas, que son la primera y segunda parte de la trilogía.

Aunque toda la cuestión resulta fascinante, viéndola desde un punto de vista crítico donde se evalúa la calidad del escritor y su amplitud de recursos, también es cierto que como lector fui pasando por diversas etapas, primero expectación, luego interés, me llegó el aturdimiento, pasando por la decepción y terminando con la desazón de una obra que no llegó a convencerme.

Entre los puntos negativos, esa el personaje de Fanshawe, una mezcla de niño excepcional, inteligente, sensible, bondadoso, humilde, etc, se le colma con todos los atributos posibles, y aún así un ser humilde e insatisfecho con su vida, que pudo haber logrado ser lo que se propusiera, pero su conocimiento superior de que la vida en general es insignificante lo hace negarse a ser algo tan convencional como un ser humano.

Me pareció excesivo el personaje además de cargante y altamente improbable, pues aunque se cuentan anécdotas para reforzar sus aptitudes y cualidades, no logran darle credibilidad.

Con respecto a la búsqueda frenética del narrador para encontrar a Fanshawe, tampoco le encontré el objetivo, indica que siempre se sintió inferior a él, entonces no entiendo como se obsesiona por buscarlo, sobre todo después de casarse con la esposa Sophie y decir estar locamente enamorado, por otro lado el personaje de Sophie es interesante, pero Auster la hace a un lado y se centra en este jueguito egocéntrico entre el narrador, Fanshawe, el detective Quinn que salió en los otros libros, y otros personajes masculinos que también hacen cortas apariciones y son parte de este devenir y desdoblamiento de personas que al final parecieran ser el propio Auster y sus personajes imbuidos en una dinámica perversa pero algo aburrida de ver quien es real y quien imaginado.

Para quien le gusta la técnica por encima de trasmitir emociones puede ser un libro altamente recomendable, en mi caso una sin la otra me es francamente decepcionante.
Profile Image for Darwin8u.
1,712 reviews8,899 followers
March 20, 2016
Not much to add that I haven't already written in my reviews of Auster's first two 'New York Trilogy' novels. In 'The Locked Room' Auster dances with the same themes, with slightly different variations. The novellas are more brothers to each other instead of cousins. In a lot of ways he reminds me of an earlier generations' Dave Eggers. There is definitely a lot of talent latent in the guy. He certainly can write, but unlike Fitzgerald who was able to tell a similar themed story in his novels and still provide weight. I just didn't feel the gravity. It was like Camus couldn't really decide whether to kill the Arab, didn't know if he cared or not, so he just walked around and killed himself but made the Arab watch.

I don't know. That may not be right. I'll probably just delete this review anyway. Only Otis will read it and I've asked him to delete all my reviews he doesn't like anyway. How do I guarantee this? Well, I could talk about Otis. I could tell you that there are things about author Auster, unrelated to his books I just don't like (who lives in NY Anyway?). He is a bad behaving author (untrue). He keeps sending me his manuscripts and wants me to say nice things about his work (untrue). I don't know. Is Auster married? Maybe, I'll go and console his wife now.
Profile Image for Comfortably.
127 reviews43 followers
September 17, 2017
Οι οστερικοι ηρωες, εξοριστοι μεσα στο ιδιο τους το σωμα, με τις υπαρξιακες τους ανησυχιες να κρυβονται πισω απο τις λεξεις κ τη δεξιοτεχνικη γραφη του Οστερ. Μια διαδρομη στα δαιδαλωδη μονοπατια του ανθρωπινου υποσυνειδητου. Αν θελεις να καταδυθεις.
Profile Image for Hojaplateada.
273 reviews21 followers
May 11, 2020
Está muy bueno. Explica cosas de los libros anteriores. Yo creí que eran independientes, pero no, hay que leer los tres y en orden
Profile Image for J.
730 reviews521 followers
July 19, 2014
It ties together everything enumerated upon in City of Glass and Ghosts very nicely, this is really the piece which gives the New York trilogy what overall coherence it has. While the story in locked room lacks the palpable sense of menace in the first two parts, it has the most developed characterization and the sharpest dialogue of the three. I also really enjoyed the way Auster weaves these little details of the past two stories into this final one. Despite its short length, it manages to be a very poignant rumination on the perils of obsessing over the works and lives of others, especially if those others are writers.
Profile Image for Eshraq.
181 reviews21 followers
March 1, 2019
اشتراکات این کتاب با کتاب دست به دهان از همین نویسنده برام خیلی جالب بود
یعنی یه جاهایی مبهوت میشدم که چرا مشابه همون اتفاقات اینجا هم میفته با اینکه دو تا کتاب کاملا جدا هستن و هدف اینجا چی بوده البته ممکنه هدف خاصی هم نبوده باشه
کتاب خوبی بود منو کاملا از فضای خودم خارج میکرد
Profile Image for Kasper.
291 reviews22 followers
December 5, 2014
Fantastic! You really get under the narrator's skin. The backstory about him and Fanshawe was especially great, the description of their friendship recalling the likes of 'The Great Gatsby' and 'On the Road'.

Auster's vocabulary and his use of language is exemplary and the streams of thoughts in this novel seem both intimate and universally relatable. The only thing holding it back slightly is its ending.
Profile Image for Amir .
588 reviews38 followers
January 19, 2010
یکی از کتاب های زیبای آستر... واقعا سرگرم کننده بود-البته اگه از آستر انتظار دیگه ای نداشته باشیم
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Profile Image for Bruno.
141 reviews45 followers
May 14, 2024
«Solo la oscuridad tiene la fuerza necesaria para hacer que un hombre le abra su corazón al mundo».

La habitación cerrada es el relato de una desaparición, el misterio que la envuelve y sus trágicas consecuencias. Paul Auster nos adentra en una historia de amistad y traición, donde el recuerdo de un viejo amigo que ha desaparecido se va convirtiendo en una obsesión nociva que va mellando la cordura del protagonista.

Me gustó mucho el ritmo de la narración, natural y fluida desde el inicio, con una cadencia que es el sello de Auster. En esta novela también destacan las descripciones que hace de sentimientos profundos e instintivos, así como la exploración que hace sobre el advenimiento del ser humano a su lado más oscuro y primitivo.

De los tres libros que componen la trilogía, este es el que más me ha gustado. Añadiéndole además el guiño que hace a la primera y segunda parte, me parece que es lo ideal leer la trilogía en el orden propuesto.
Profile Image for Sheida.
43 reviews10 followers
September 19, 2022
در نظرم، این داستان از سه‌گانه نیویورک جذابیت و هیجان انگیز تر از دو داستان قبلی بوده و بخش بیشتری از توقعات خواننده را که از دو داستان قبلی انتظار می‌رفت، برآورده می‌کند.
10 reviews1 follower
Read
September 3, 2022
These three stories are finally the same story, but each one represents a different stage in my awareness of what it is about.

It's tempting to seek the solution to the literal mystery of this trilogy. Perhaps it's possible to find it. There are eulogies to the detective fiction genre in City of Glass which are so lovely that they make clear that Mr Auster adores it. If these books are pastiche, they can nevertheless compete with the best 'straight' detective fiction as far as jazz-like detachment goes, and that is the principal appeal of the genre for me. So perhaps there is a correct way to arrange the persons and personas of Quinn, Wilson, Work, Auster, Stillman, Blue, Black, Fanshawe, and the rest.

I think it's better to focus on the emotional mystery. The characters may be separable into two or three persons. However, the books' strength is their sense of things blurring into one, in the way they do if you shake your head to music or squint while looking out from a car on a motorway. The narrators blur into each other. The men who consume the narrators' lives blur into each other. The boundaries blur between points in time and between people in general and between the data from our different senses. The blurring is not a political statement or a narrative device. it is just the write-up of the probing of an impression. I greatly value such writing. Whether the blurring is cause for refined literary pleasure or for mortal panic is for the reader's intuitions to decide. So too is the question of what causes the blurring. Too much work? Too much reading? Too much sex? Human nature? Childhood experience? Obsession? Modern life? Marxian alienation? Poverty? Lack of structure? New York?

I'll end with a quote I've loved rereading. It's from Ghosts, in which the main characters are Blue, White, and Black. It is a good example of Auster's blurring. It also reminds me of two things which move and fascinate me: the song 'Águas de março' and Susan Sontag's lists of her likes and dislikes.
Take blue for example, he says. There are bluebirds and blue jays and blue herons. There are cornflowers and periwinkles. There is noon over New York. There are blueberries, huckleberries, and the Pacific Ocean. There are blue devils and blue ribbons and blue bloods. There is a voice singing the blues. There is my father's police uniform. There are blue laws and blue movies. There are my eyes and my name. He pauses, suddenly at a loss for more blue things, and then moves on to white. There are seagulls, he says, and terns and storks and cockatoos. There are the walls of this room and the sheets on my bed. There are lilies-of-the-valley, carnations, and the petals of daisies. There is the flag of peace and Chinese death. There is mother's milk and semen. There are my teeth. There are the whites of my eyes. There are white bass and white pines and white ants. There is the President's house and white rot. There are white lies and white heat. Then, without hesitating, he moves on to black, beginning with black books, the black market, and the Black Hand. There is night over New York, he says. There are the Chicago Black Sox. There are blackberries and crows, blackouts and black marks, Black Tuesday and the Black Death. There is blackmail. There is my hair. There is the ink that comes out of a pine. There is the world a blind man sees. Then, finally growing tired of the game, he begins to drift, saying to himself that there is no end to it. He falls asleep, dreams of things that happened long ago, and then, in the middle of the night, wakes up suddenly and begins pacing the room again, thinking about what he will do next.
Profile Image for William Thomas.
1,231 reviews2 followers
September 3, 2011
Paul Auster fumbles the ball in this, the last piece of the New York Trilogy. The two previous novels, both a combination of mystery and metaphysics, were fairly interesting, although tedious. This novel brought that tedium to an all-time high.

I was in a dizzying euphoria when I first read City of Glass. I was young, and it put me in a strange place. It felt as if it were a puzzle that Wittgensteain had created and that I could never find the perfect place to lay the last piece. It was phenomenal. Genius in a new way I hadn't previously encountered. IT was both visceral and metaphysical. It was supremely artful. It studied the disconnect of the mind and the page.

But this book left me wanting in all those same ways. It still played with language and 'being' but in a way that felt lifeless and drab and altogether uneventful. It was, as most Auster novels, lacking in emotion, even where it called for an outporing of it. It felt rehearsed. It felt phony. And maybe that was the point of it. And if it was, I guess I got it. But didn't like it.

And now that I'm older, I'm reading this last installment and I find it to be of no consequence and of little intellectual merit. Save the praise for Auster's more honest works.
Profile Image for Navid.
37 reviews9 followers
April 28, 2023
قوی‌ترین قسمت از سه‌گانه نیویورک
وقتی داستان سه کتاب رو مرور می‌کنم، واقعاً شگفت‌انگیزه که داستان‌های مستقل کتاب، با تمام تفاوت‌هاشون عملاً یک داستان واحدن. و در عین حال سه داستان کاملاً متفاوت رو شکل دادن!

پل استر در قالب این سه داستان کوتاه ترکیب عجیب و پیچیده زیر رو به شکل هنرمندانه‌ای جا داده و به مخاطب‌اش عرضه می‌کنه:
- معماهایی در خور توجه که از لحظه شروع در برابر کنار گذاشته شدن مقاومت می‌کنن.
- پرسش‌های عمیقاً فلسفی که مرتباً در خلال داستان‌ها مطرح میشن. عجیب نیست اگر بگم سه‌گانه نیویورک بیشتر از اینکه کتاب داستان باشه، یک مجموعه‌ی فلسفیه!
- مجموعه‌ی عظیمی از نشانه‌ها و ارجاعات درون‌متنی و برون‌متنی که استر به شکل بازیگوشانه‌ای در کتاب قرار میده تا مخاطب (همچون کارآگاه‌های قصه) به دنبال کشف‌شون بر بیاد.

چیزی که پل استر جوان بیشتر از همه باهاش درگیره، فرم‌های جدید برای قصه‌گوییه. و حقیقتاً در این کار بسیار موفقه. این یکی از اون جاهایی نادر و لذت‌بخشیه که «فرم» و «محتوا» نه تنها مکمل هم میشن، که در هم فرو میرن و هر کدوم دیگری رو تقویت میکنه.

شگفتی و احترام بسیار برای پل استر جوان که به احترام‌اش تنها میتونم کلاه از سر بردارم. 🎩 ء
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