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How High We Go in the Dark Capa dura – 18 janeiro 2022
Prazo | Valor Mensal (R$) | Total (R$) |
---|---|---|
2x sem juros | R$ 54,45 | R$ 108,90 |
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For fans of Cloud Atlas and Station Eleven, Sequoia Nagamatsu's debut is a wildly imaginative, genre-bending work spanning generations across the globe as humanity struggles to rebuild itself in the aftermath of a climate plague.
'Haunting and luminous . An astonishing debut' - Alan Moore, creator of Watchmen and V for Vendetta
'A powerfully moving and thought provoking read. At times sublime, strange and deeply human' Adrian Tchaikovsky, bestselling author of the Children of Time series
Dr. Cliff Miyashiro arrives in the Arctic Circle to continue his recently deceased daughter's research, only to discover a virus, newly unearthed from melting permafrost. The plague unleashed reshapes life on earth for generations. Yet even while struggling to counter this destructive force, humanity stubbornly persists in myriad moving and ever inventive ways.
Among those adjusting to this new normal are an aspiring comedian, employed by a theme park designed for terminally ill children, who falls in love with a mother trying desperately to keep her son alive; a scientist who, having failed to save his own son from the plague, gets a second chance at fatherhood when one of his test subjects-a pig-develops human speech; a man who, after recovering from his own coma, plans a block party for his neighbours who have also woken up to find that they alone have survived their families; and a widowed painter and her teenaged granddaughter who must set off on cosmic quest to locate a new home planet.
From funerary skyscrapers to hotels for the dead, How High We Go in the Dark follows a cast of intricately linked characters spanning hundreds of years as humanity endeavours to restore the delicate balance of the world. This is a story of unshakable hope that crosses literary lines to give us a world rebuilding itself through an endless capacity for love, resilience and reinvention.
Wonderful and disquieting, dreamlike and all too possible. [How High We Go in the Dark] reaches far beyond our stars while its heart remains rooted to Earth, and reminds us that our wellbeing depends on the wellbeing of our world - Samantha Shannon, author of The Priory of the Orange Tree
- Tamanho
304
Páginas
- Idioma
EN
Inglês
- EditoraBloomsbury Publishing PLC
- Data da publicação
2022
janeiro 18
- Dimensões
24.2 x 3.2 x 16.2
cm
- ISBN-101526637189
- ISBN-13978-1526637185
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Detalhes do produto
- Editora : Bloomsbury Publishing PLC; 1ª edição (18 janeiro 2022)
- Idioma : Inglês
- Capa dura : 304 páginas
- ISBN-10 : 1526637189
- ISBN-13 : 978-1526637185
- Dimensões : 24.2 x 3.2 x 16.2 cm
- Ranking dos mais vendidos: Nº 364,909 em Livros (Conheça o Top 100 na categoria Livros)
- Nº 82 em Importados sobre Socorro para Desastres
- Nº 408 em Importados de Ciências Ambientais em Ciência da Terra
- Nº 7,585 em Importados de Ficção Contemporânea
- Avaliações dos clientes:
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This book is a series of chapters that are almost short stories but are later revealed to be a part of the bigger picture.
Some chapters felt cut short, some offered hope, and one in particular broke my heart. However there was also beauty and insight to be found and that is not nothing.
Personally, I’d like a rewrite. There is something inside this book still buried deep below the SiberianTundra which needs to be revealed.
In the first story, a bereaved father goes down to Siberia to continue his late daughter’s mission to cool the earth’s climate before all life is decimated, knowing full well he would be quarantined with her team because of a virus they unearthed along with the body of a possible female neanderthal/homo sapien whose biological features throw up questions about the origins of humans - she would prove to be significant much later in the novel.
For me the most disturbing story came early in the book. Set in an refashioned amusement park, the rollercoasters are designed to go so fast that the speed alone will kill the terminally ill children onboard it in their last exhilarating ride as an act of euthanasia for grieving parents who cannot bear to see the mysterious virus eat up from within their loved ones. Told from the perspective of a park employee at this morbidly named “City of Laughter”, whose job is to don an animal suit to entertain the visitors, the story chills me way after I have left it.
Elsewhere, Nagamatsu explores transhumanism, questioning the essence of the human and embodiment, where funerary services can reassemble the body and incorporate them with seaworthy vessels, that gives a new spin to the strewing of one’s ashes into the sea.
A scientist is implanted with a singularity in his head for the purpose of leading a choice segment of the human population in its shuttle off earth in search of new worlds and to continue the human civilisation in whichever possible form.
It is remarkable how Nagamatsu weaves in the loves stories between the living and the soon-to-be-dead and after, such as the forensic pathologist who develops feelings for her research subject who has decided to donate his body to science after his death and her obsession with him even after he is gone and she literally digs deep into his body.
However, despite all the sparks of brilliance tucked in each of these stories, some more engaging than others, it felt too much to be contained within one novel. Where Mitchell manages to pull all the seemingly disparate strands together, I felt Nagamatsu was less successful in making the whole stick together. Nonetheless a commendable debut, and I look forward to reading more of this author’s works.
The characters across the various interconnected stories are indistinguishable: they all think and talk in exactly the same way and they all have the same problems. The first chapter is by far the best, but as you move forward they become more and more outlandish and unbelievable, until I was just dashing through the last few to get it done. I simply didn't believe in the world he was creating.
The writing I found flat and unengaging. Other reviewers have noted a similarity to David Mitchell's work—maybe, but if so it isn't 'Cloud Atlas' it's his first novel 'Ghostwritten'—but it isn't anywhere near as good as that. Like: nowhere near. The novel this most reminded me of was Margaret Atwood's 'Maddadam Trilogy', but only as a pale and watery imitation of it.
It's OK, but no more.