Half a Crown (Anglais) Broché – 3 septembre 2013
|Neuf à partir de||Occasion à partir de|
Les clients ayant acheté cet article ont également acheté
Descriptions du produit
Biographie de l'auteur
Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.
Pour obtenir l'appli gratuite, saisissez votre adresse e-mail ou numéro de téléphone mobile.
Détails sur le produit
En savoir plus sur l'auteur
Commentaires en ligne
Commentaires client les plus utiles sur Amazon.com (beta)
Jo Walton's trilogy does rest on a historical counterfactual--that the United States refused to support Britain in 1940, and that Britain was consequently forced to make peace with Hitler. However, the counterfactual is not central to Walton's work; it is only a literary device that serves to set the story in a place that both is, and is not, here and now. Because the world of Walton's trilogy is a distorted version of our own, both recognizable and yet alien, what might have been an ideological diatribe becomes instead a most effective parable.
Walton uses this dark mirror of our world as a stage-setting for a parable that illustrates compellingly the ease with which men can be seduced into accepting evil in return for an imagined safety, and how quickly ordinary and decent people can be made to descend the declivity of betrayal, corruption, fear, and self-hate. Walton writes as though she cares about her characters, and consequently makes us care. Most of them are neither totally evil nor altogether good; they are almost always interesting. Caught up in events they cannot control, these people must make decisions that entail compromises; some win through, while others lose their lives or--worse--their souls.
Though Walton's story has clear parallels to the present day, she is never heavy-handed, obvious, or judgmental. While Walton's trilogy isn't an ideological sermon, it does disturb and--one hopes--gives rise to serious reflection.
My one criticism of this work is that Inspector Carmichael gets off too lightly. The inspector has compromised too much of his integrity; I feel that there should have been a price required for that.
Walton plays with alternative history like a musician, bringing in elements from actual history with a slight skew. In Farthing it was the Cliveden Set, in Ha'penny, it was the Mitford sisters; here it is Burgess, minus Maclean, Philby, and Blunt, but elevated. The novel concludes with a twist, as surprising as it is welcome, delivered by a character singularly appropriate for the role.
As with the other volumes, Walton develops her story by alternating between the first-person account of the naive Elvira and a third person narrative focusing on Carmichael. Yet there is no great mystery in this volume but a dual plot focusing on the emergence of the totalitarian "Ironsides" movement and Elvira's growing exposure to the realities of her world. Without the mystery, the emphasis is on suspense, yet Walton comes up short here. While she implies that her alternate Britain is a terrifying place, little of this seems to come out in the novel itself. Instead, everything seems almost laughably tame, from a secret policeman who is astonishing indiscreet and easily caught unawares to a underground coup that is hardly anything to fear. All of this saps the suspense from the story, making it a somewhat unsatisfying conclusion to an otherwise enjoyable and well-realized series.