Китоб пас аз сабти ном дастрас аст.
| Номи китоб: | Since Tomorrow |
| Муаллиф: | Morgan Nyberg, |
| Соли нашр: | 2011 |
| Теъдоди саҳифаҳо: | Не известно |
| From reviews of “Since Tomorrow”: “‘Since Tomorrow’ is the best post-apocalyptic novel I’ve read since Cormac McCarthy’s ‘The Road’.” Jo Vonbargen “…a magnificent book that lays out an exquisitely formed vision of a broken world.” A.F. Stewart “The most realistic post-apocalypse book I’ve ever read.” D.K. Gould An old man rides a workhorse through the night, across mudslides, past stores abandoned for decades, past the rotted corpses of automobiles invisible under mounds of blackberry. Rain courses from his rabbit skin poncho. He carries a sword and a spear. He knows where to find the murderer. He will face him alone. “Since Tomorrow” is a novel of a world in the remaking. The old man, Frost, remembers the “good times”. Those who live on his “farm” among collapsed warehouses and the foundations of vanished houses struggle to maintain human values. But when others in this makeshift world are driven only by greed and the need for power, all values must ultimately be replaced by the simple instinct for survival. In this full length novel Morgan Nyberg takes the reader to the West Coast of Canada, where the city of Vancouver has been transformed by climate change, pandemic, economic collapse and earthquake into “Town”, a squalid, lawless place inhabited the desperate, the diseased and the dying. Taking advantage of this state of affairs is the formidable Langley, who grows poppies to produce “skag”, a crude form of opium. Langley has amassed enough power to control a small private army. Now he is determined to acquire Frost’s farm for himself. Recklessly opposing Langley is Frost’s fearless but impulsive granddaughter, Noor. Like Russell Hoban’s “Riddley Walker” or Cormac McCarthy’s “The Road”, “Since Tomorrow” demonstrates that there is room in the post-apocalyptic genre for exceptional writing. Morgan Nyberg tells nothing — he shows everything. In clear, sensuous prose free of commentary or explanation — prose as addictive as Langley’s skag — he leads the reader toward that climactic night with Frost on his horse, and farther, to the threshold of a new, perhaps happier, era. |