Vol. 7, Issue 2, Part E (2021)

Abstract
If London and Paris were the key mythical cities of the European culture of the eighteenth and nineteenth century, the urban space of New York and the observatory condo situated in it, is enriched with the post modern characteristics which dominated the imagination of the twentieth and the late twentieth century literature. As each individual is aware of himself, but no one is conscious of himself, collectively themselves. Collective consciousness is absent and subjectivity is excessive. Well, it seems to be the characteristic. This gives birth to a sense of separation, disconnection. Older ways of seeing the city are replaced by a new way of seeing the city. Turn inward, which is becoming the dominant trend in postmodern literature, leading to a change in the specificity of the investigation and its departure from that of traditional literature. City of Glass and Ghosts, the primary and second volume of Paul Auster’s The New York Trilogy, is conventionally delegated hostile to detective fiction. Though generally, in the detective fiction the prevailing space, be it a city or locked room to make a reference to few, offers the investigation signs vital for tacking the case, in the post modern story of identification these pieces of information are insignificant or muddling. The reason for the examination is twofold: to see how the city helps shape fiction and how fiction, thus, helps our overflowing metropolitan wildernesses make sense of us. Henceforth, the essential point of this article is to look at the interrelation between city and fiction through a close analysis of city based novels of contemporary American writer Paul Auster. I mean to demonstrate how the environmental factors add to the substitution of reasonable and target judgment of the case with individual commitment. The article additionally targets giving an outline of the changes of metropolitan space in detective fiction, what capacities as the prologue to a further conversation.