Drawing on Walter Benjamin’s early philosophy of translation as its theoretical framework, this paper examines how Paul Auster’s experience of translating French poetry and theoretical works profoundly shapes the composition of The New York Trilogy. Through the practice of translation, Auster develops a deepening awareness of the complex interplay among language, meaning, and silence, which gives rise to the distinctive linguistic consciousness and philosophical preoccupations that pervade his fiction. This paper illustrates how Auster’s dual identity as writer and translator contributes to the formation of his literary style, and argues for the intrinsic interconnectedness between translation and original creation. It ultimately demonstrates that translation serves as a crucial means through which Auster interrogates the nature of language itself and expands the possibilities of literary expression through his literary career.