The City, Not Long After
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- 6,99 €
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- 6,99 €
Description de l’éditeur
A chilling postapocalyptic novel of hope, despair, art, and war from the Nebula and Philip K. Dick Award–winning author of The Falling Woman.
A plague wiped out most of the population, but some have been spared. In San Francisco, those who were left—painters, writers, dreamers—began rebuilding the city in their image: a society based on art, community, and peace. But not everyone has the same pacifist ideals.
When a mysterious young woman, Jax, appears in San Francisco, she brings disturbing news. There’s a power-hungry man, a general, moving across California, annexing cities and rebuilding his own version of America, willing to destroy anyone who stands in his way. His sights are set on the Golden Gate Bridge, and his army will soon descend, bringing guns, determination, and violence.
If Jax and her allies are to survive, they’ll have to defend themselves with nothing more than their creativity—and the soul of a city that refuses to be dominated.
Drawing comparisons to the mind-bending work of Gabriel García Márquez, this lush and thought-provoking dystopian novel is an examination of human spirit, for better or worse, and a magical journey into what it means to survive.
PUBLISHERS WEEKLY
The intersecting spheres of dreams and earthly passions that marked Murphy's recent novel The Falling Woman and her novelette ``Rachel in Love'' (both Nebula Award winners in 1988) continue in this story of a depopulated San Francisco. In the wake of a devastating worldwide plague, the handful of artists who have transformed the city with mirror mazes, self-propelled clockwork creatures and a coat of blue paint on the Golden Gate Bridge find that the city itself collaborates in unpredictable ways, from rains of flowers--or frogs--to the appearance of angels. When megalomaniac General Miles threatens the city, newcomer Jax works with painter Danny-boy, mechanical genius The Machine and others on a pacifist version of guerrilla warfare. Too often this novel recalls the studiously surreal antiwar stories of the '60s. A sweet fable, this is pleasing but evanescent, fading like the half-forgotten dreams it delicately evokes.
