For all of the work that is published on Arthur Miller, very little seems to consider the potential for a postmodernist sensibility within his work. In this article, I argue that if we compare The New York Trilogy by Paul Auster to Miller's own detective plays, Some Kind of Love Story and Clara, then a new understanding of these plays can be reached through the lens of postmodernism. I contend that this latter phase of Miller's career began with The Archbishop's Ceiling, and draw on the work of Andrew Sofer and Ramón Espejo Romero, in particular, to advance my thesis that Miller's method of writing and thinking moved toward a postmodernist sensibility in his later years.

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