This article examines the way a temporary inflexion towards a cinematic representation in City of Glass: the Graphic Novel – an adaptation which actively seeks to explore the specificities of the comics form – brings to the surface the fragmented and incomplete state of tradition in comics.
Among many other things, David Mazzucchelli and Paul Karasik’s adaptation of Paul Auster’s City of Glass (City of Glass GN in the rest of this text) is a visual interpretation of the noir homage present in Auster’s book. City of Glass, the first novel of the New York Trilogy, initially relies on a loose pastiche of detective fiction and more specifically of the novels of Raymond Chandler, in which private eyes accept unclear missions for the sake of beautiful women. This archetypal scene is replayed both in the novel and in the graphic novel, when Quinn, the main protagonists, accepts to keep watch over a man named Stillman in part because of his attraction to Virginia’s Stillman, the man’s daughter-in-law.
Read the rest of this entry »