Zero History
A stylish, gripping technothriller from the multi-million copy bestselling author of Neuromancer
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5,0 • 1 note
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- 8,99 €
Description de l’éditeur
'Gibson is having tremendous fun' Independent
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THE THIRD NOVEL IN THE BLUE ANT TRILIOGY - READ PATTERN RECOGNITION AND SPOOK COUNTRY FOR MORE
Hubertus Bigend, the Machiavellian head of global ad-agency Blue Ant, wants to uncover the maker of an obscurely fashionable denim that is taking subculture by storm. Ex-musician Henry Hollis knows nothing about fashion, but Bigend decides she is the woman for the job anyway.
Soon, though, it becomes clear that Bigend's interest in underground labels might have sinister applications. Powerful parties, who'll do anything to get what they want, are showing their hand. And Hollis is about to find herself in the crossfire.
A gripping spy thriller by William Gibson, bestselling author of Neuromancer. Part prophesy, part satire, Zero History skewers the absurdity of modern life with the lightest and most engaging of touches. Readers of Neal Stephenson, Ray Bradbury and Iain M. Banks won't be able to put this book down.
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'An ideas-swarm, coated with a hipster glaze' Herald
'Gibson's writing is thrillingly tight' New York Times Book Review
PUBLISHERS WEEKLY
Opposing forces contend violently over what are in the end ephemeral trivialities, the minutiae of modern fashion, in Gibson's quirky tale of 21st-century brand positioning. The attention of eccentric financial genius Hubertus Bigend, seen previously in Pattern Recognition and Spook Country, has landed on military fashion, a field he believes is immune to the vagaries of the market. When an unusual pair of mil-chic trousers raises the possibility that the anonymous designer is copying Bigend's new obsession, Bigend dispatches his team of talented amateurs to investigate the source of the suspiciously au courant trousers. Bigend's competition turns out to be none other than Michael Preston Gracie, an ex-military officer whose unwarranted self-confidence is rivaled only by his ruthlessness. Gibson's style has become even more distilled, more austere, since his science fiction days. Inanimate objects and, in particular, the brands of those objects, are more fully illuminated than the characters using those brands.
