In his novel set entirely in a dystopian environment, In the Country of Last Things, Paul Auster portrays a disturbing vision of urban space where pervasive processes of disintegration and destabilisation profoundly determine the relations inside it. In this study the semiotic space of this unnamed city will be examined on the basis of the opposition between dominant dystopian space and impermanent sanctuaries located within the urban realm. The defining division of space has its reflection in the practical realisation of the concept of solidarity. The city is inhabited by society for whom moral codes and higher values can be considered relics of the past. Consequently, genuine solidarity has been replaced by what Sally Scholz calls 'parasitical solidarity'. Temporary refuges, on the other hand, serve as the last anchorages of humanity trying to resist detrimental impacts from outside and to preserve natural gestures of solidarity.