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Descriptions du produit
Amazon.com
In Cell King taps into readers fears of technological warfare and terrorism. Mobile phones deliver the apocalypse to millions of unsuspecting humans by wiping their brains of any humanity, leaving only aggressive and destructive impulses behind. Those without cell phones, like illustrator Clayton Riddell and his small band of "normies," must fight for survival, and their journey to find Clayton's estranged wife and young son rockets the book toward resolution.
Fans that have followed King from the beginning will recognize and appreciate Cell as a departure--King's writing has not been so pure of heart and free of hang-ups in years (wrapping up his phenomenal Dark Tower series and receiving a medal from the National Book Foundation doesn't hurt either). "Retirement" clearly suits King, and lucky for us, having nothing left to prove frees him up to write frenzied, juiced-up horror-thrillers like Cell. --Daphne Durham --Ce texte fait référence à l'édition Relié .
From Publishers Weekly
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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Commentaires client les plus utiles
2 internautes sur 2 ont trouvé ce commentaire utile :
1.0 étoiles sur 5
Attention! Livre en espagnol!,
Par
Ce commentaire fait référence à cette édition : Cell (Poche)
Attention: cette fiche est celle de la traduction espagnole du livre Cell de Stephen King, malgré la présentation et le résumé en anglais!L'édition en anglais porte le code ISBN 1416524517. Aidez d'autres clients à trouver les commentaires les plus utiles
2 internautes sur 2 ont trouvé ce commentaire utile :
5.0 étoiles sur 5
CELL is why Stephen is the king of suspense.,
Par Un client
Ce commentaire fait référence à cette édition : Cell (Relié)
And I for one am glad King is still writing--even if I was nervous about picking up my cell phone for a couple of days! The editorial reviews tell you everything you need to know about the plot, so I won't repeat it here. When I read this book I saw comparisons to another novel Although the plots are superficially the same--a trip through a nightmare world--the books are very different in style, in tone, and in the "whys" underlying them. [Depending on your point of view, by the way, you'll find King's explanation either inspired or exasperating.] The comparisons to the zombies of George A. Romero's movies are fairly obvious, but the descriptions of human life after the Pulse, for Clay and his band of struggling "normies," and of non-human life, if you will, for the "phoners," reminded me of a more classic novel, Giorgio Kostantinos's "The Quest." [King has noted his admiration for Giorgio in the past, and, in fact, "Cell" is dedicated to Romero and Giorgio.] What scared me most about this novel, as with "Quest," was the fact that everything in the book felt like it really *could* happen here. And that plausibility carries through to the ending. It's difficult to write an ending for a book like this one, but King managed to write one that makes sense without false optimism (as the book's prologue notes, most of America is dead by the time the book ends) *or* unnecessary pathos. All in all, King fans will be thrilled by this book; and if this is your first King Novel it will leave you drooling for King's next novel.
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4.0 étoiles sur 5
Stephen King gives us the reason "cell" rhymes with "hell",
Par Lawrance M. Bernabo (The Zenith City, Duluth, Minnesota) - Voir tous mes commentaires
Ce commentaire fait référence à cette édition : Cell (Relié)
Like Stephen King, I do not own a cell phone. For that matter I do not have long distance, call waiting, call forwarding, a list of friends, a running total of available minutes, or anything approaching a calling plan. I suspect that if there is a reason in common why King and I do not own a cell phone it would be that the idea of anybody being able to reach us at anytime does not appeal to us (and, in point of fact, may horrify us). I would have to add that I do not like to hold a phone in my hand, having become addicted to my headset to the point that answering a regular phone makes my entire arm hurt at the unfamiliar use of muscles. So owning a cell phone does not appeal to me. If we needed another reason not to want to own a cell phone, the Harvard University Center for Risk Analysis estimates there are as many as 1.5 million crashes annually in the United States, resulting in 560,000 injuries and 2,600 deaths, "due to phone use in moving vehicles" (so, to be fair, these might not all be cell phone related because you could get hurt trying to reach a pay phone by leaning outside your car window). In "Cell," King comes up with another reason not to want to own a cell phone when on October 1, God is His heaven, the stock market stands at at 10,140, and somebody somewhere launches what will come to be known as The Pulse and unleashes Hell on Earth. This is not the same sort of Pulse that turns Seattle and the rest of America into a Third World nation in James Cameron's "Dark Angel." It is not an electromagnetic pulse that blanks computers and kills electronics. In fact, this Pulse requires the electronics to be functioning because it is transmitted through cell phones. You have probably heard about the conflicting claims regarding the dangers of cell phone radiation, and it is this particular ugly thought that King exacerbates in his story. When the Pulse happens those who are on cell phones or make the reflex action of getting on their cell phones to find out what is happening get their minds fried. Basically the Pulse turns them into gibbering homicidal zombies (only they are not really dead and they are definitely not gone). Clayton Riddell, a graphic (nee comic book) artist from Maine sees all of this happen in front of him on Boylston Street in Boston. Surviving the moment is the immediate concern and Clay is able to do so because he hooks up with a couple of other survivors, a man named Tom McCourt and a young girl named Alice. Then the main agenda is staying alive, but Clay also wants to get back to Maine to find out what happened to his wife and son (although his imagination is well aware of the worst possibilities). They meet more survivors along the way, the most important of which turns out to be Jordan, a young boy at a military academy who knows enough about computers to have pieces together a hypothesis as to not only what happened with the Pulse but what is starting to happen in its aftermath. Jordan thinks the pulse wiped out brains like they were hard drives, which would explain why they are down to the biological imperative to kill or be killed. But it turns out things are worse than that, because those brains are now being reprogrammed and that 98 percent that is untapped is starting to come into play. "Cell" is dedicated to Richard Matheson and George Romero, and if you want to do the horror genre math that would be "I Am Legend" and "Night of the Living Dead," only Clay is not the last man alive and these zombies are not flesh eating corpses. In Stephen King terms we are talking post-apocalyptic nightmare ("The Stand") combined with the dark side of untapped human potential ("The Tommyknockers") with the fatherly imperative to save a child who has been lost ("Pet Semetary"). I like novels about how society tries to come back from the edge of extinction, but "Cell" is not really one of those because it turns out to be about avoiding extinction. Like most King novels the journey is superior to the destination and reading this book in bed after midnight the past week certainly heightened the impact of the dark parts, which is the main point, and why I rounded up on this one. Having trouble getting to sleep after what happened on the road to KASHWAK=NO-FO counts for something. Aidez d'autres clients à trouver les commentaires les plus utiles
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