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Zone One [Format Kindle]

Colson Whitehead
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Extrait

He always wanted to live in New York. His Uncle Lloyd lived downtown on Lafayette, and in the long stretches between visits he daydreamed about living in his apartment. When his mother and father dragged him to the city for that season's agreed-upon exhibit or good-for-you Broadway smash, they usually dropped in on Uncle Lloyd for a quick hello. These afternoons were preserved in a series of photographs taken by strangers. His parents were holdouts in an age of digital multiplicity, raking the soil in lonesome areas of resistance: a coffee machine that didn't tell time, dictionaries made out of paper, a camera that only took pictures. The family camera did not transmit their coordinates to an orbiting satellite. It did not allow them to book airfare to beach resorts with close access to rain forests via courtesy shuttle. There was no prospect of video, high-def or otherwise. The camera was so backward that every lurching specimen his father enlisted from the passersby was able to operate it sans hassle, no matter the depth of cow-eyed vacancy in their tourist faces or local wretchedness inverting their spines. His family posed on the museum steps or beneath the brilliant marquee with the poster screaming over their left shoulders, always the same composition. The boy stood in the middle, his parents' hands dead on his shoulders, year after year. He didn't smile in every picture, only that percentage culled for the photo album. Then it was in the cab to his uncle's and up the elevator once the doorman screened them. Uncle Lloyd dangled in the doorframe and greeted them with a louche "Welcome to my little bungalow."

As his parents were introduced to Uncle Lloyd's latest girlfriend, the boy was down the hall, giddy and squeaking on the leather of the cappuccino sectional and marveling over the latest permutations in home entertainment. He searched for the fresh arrival first thing. This visit it was the wireless speakers haunting the corners like spindly wraiths, the next he was on his knees before a squat blinking box that served as some species of multimedia brainstem. He dragged a finger down their dark surfaces and then huffed on them and wiped the marks with his polo shirt. The televisions were the newest, the biggest, levitating in space and pulsing with a host of extravagant functions diagrammed in the unopened owner's manuals. His uncle got every channel and maintained a mausoleum of remotes in the storage space inside the ottoman. The boy watched TV and loitered by the glass walls, looking out on the city through smoky anti-UV glass, nineteen stories up.

The reunions were terrific and rote, early tutelage in the recursive nature of human experience. "What are you watching?" the girlfriends asked as they padded in bearing boutique seltzer and chips, and he'd say "The buildings," feeling weird about the pull the skyline had on him. He was a mote cycling in the wheels of a giant clock. Millions of people tended to this magnificent contraption, they lived and sweated and toiled in it, serving the mechanism of metropolis and making it bigger, better, story by glorious story and idea by unlikely idea. How small he was, tumbling between the teeth. But the girlfriends were talking about the monster movies on TV, the women in the monster movies bolting through the woods or shriveling in the closet trying not to make a sound or vainly flagging down the pickup that might rescue them from the hillbilly slasher. The ones still standing at the credit roll made it through by dint of an obscure element in their character. "I can't stand these scary stories," the girlfriends said before returning to the grown-ups, attempting an auntly emanation as if they might be the first of their number promoted to that office. His father's younger brother was fastidious when it came to expiration dates.

He liked to watch monster movies and the city churning below. He fixed on odd details. The ancient water towers lurking atop obstinate old prewars and, higher up, the massive central-air units that hunkered and coiled on the striving high-rises, glistening like extruded guts. The tar-paper pates of tenements. He spotted the occasional out-of-season beach chair jackknifed on gravel, seemingly gusted up from the street below. Who was its owner? This person staked out corners of the city and made a domain. He squinted at the slogans cantering along stairwell entrances, the Day-Glo threats and pidgin manifestos, a.k.a.'s of impotent revolutionaries. Blinds and curtains were open, half open, shut, voids in a punch card decipherable only by defunct mainframes lodged in the crust of unmarked landfills. Pieces of citizens were on display in the windows, arranged by a curator with a taste for non sequitur: the splayed pinstriped legs of an urban golfer putting into a colander; half a lady's torso, wrapped in a turquoise blazer, as glimpsed through a trapezoid; a fist trembling on a titanium desk. A shadow bobbed behind a bathroom's bumpy glass, steam slithering through the slit.

He remembered how things used to be, the customs of the skyline. Up and down the island the buildings collided, they humiliated runts through verticality and ambition, sulked in one another's shadows. Inevitability was mayor, term after term. Yesterday's old masters, stately named and midwifed by once-famous architects, were insulted by the soot of combustion engines and by technological advances in construction. Time chiseled at elegant stonework, which swirled or plummeted to the sidewalk in dust and chips and chunks. Behind the façades their insides were butchered, reconfigured, rewired according to the next era's new theories of utility. Classic six into studio honeycomb, sweatshop killing floor into cordoned cubicle mill. In every neighborhood the imperfect in their fashion awaited the wrecking ball and their bones were melted down to help their replacements surpass them, steel into steel. The new buildings in wave upon wave drew themselves out of rubble, shaking off the past like immigrants. The addresses remained the same and so did the flawed philosophies. It wasn't anyplace else. It was New York City.

The boy was smitten. His family stopped by Uncle Lloyd's every couple of months. He drank the seltzer, he watched monster movies, he was a sentry at the window. The building was a totem sheathed in blue metal, a changeling in the nest of old walk-ups. The zoning commission had tucked the bribes into their coats, and now there he was, floating over the tapering island. There was a message there, if he could teach himself the language. On rainy-day visits the surfaces of the buildings were pitiless and blank, as they were this day, years later. With the sidewalks hidden from view, the boy conjured an uninhabited city, where no one lived behind all those miles and miles of glass, no one caught up with loved ones in living rooms filled with tasteful and affirming catalog furniture, and all the elevators hung like broken puppets at the end of long cables. The city as ghost ship on the last ocean at the rim of the world. It was a gorgeous and intricate delusion, Manhattan, and from crooked angles on overcast days you saw it disintegrate, were forced to consider this tenuous creature in its true nature.

If you'd asked him on any of those childhood afternoons what he wanted to be when he grew up--tapping his shoulder as the family car inserted itself into the queue for the Midtown Tunnel or as they hummed toward their exit on the Long Island Expressway--he would have had nothing to offer with regards to profession or avocation. His father wanted to be an astronaut when he was a kid, but the boy had never been anything but earthbound, kicking pebbles. All he was truly sure of was that he wanted to live in a city gadget, something well-stocked and white-walled, equipped with rotating bosomy beauties. His uncle's apartment resembled the future, a brand of manhood waiting on the other side of the river. When his unit finally started sweeping beyond the wall--whenever that was--he knew he had to visit Uncle Lloyd's apartment, to sit on the sectional one last time and stare at the final, empty screen in the series. His uncle's building was only a few blocks past the barrier and he found himself squinting at it when it strode into view. He searched for the apartment, counting metallic blue stories and looking for movement. The dark glass relinquished nothing. He hadn't seen his uncle's name on any of the survivor rolls and prayed against a reunion, the slow steps coming down the hall.

If you'd asked him about his plans at the time of the ruin, the answer would have come easily: lawyering. He was bereft of attractive propositions, constitutionally unaccustomed to enthusiasm, and generally malleable when it came to his parents' wishes, adrift on that gentle upper-middle-class current that kept its charges cheerfully bobbing far from the shoals of responsibility. It was time to stop drifting. Hence, law. He was long past finding it ironic when his unit swept a building in that week's grid and they came upon a den of lawyers. They slogged through the blocks day after day and there had been too many firms in too many other buildings for it to have any novelty. But this day he paused. He slung his assault rifle over his shoulder and parted the blinds at the end of the corridor. All he wanted was a shred of uptown. He tried to orient himself: Was he looking north or south? It was like dragging a fork through gruel. The ash smeared the city's palette into a gray hush on the best of days, but introduce clouds and a little bit of precip and the city became an altar to obscurity. He was an insect exploring a gravestone: the words and names were crevasses to get lost in, looming and meaningless.

This was the fourth day of rain, Friday afternoon, and a conditioned part of him submitted to end-of-the-week lassitude, even if Fridays had lost their meaning. Hard to believe that reconstruction had progressed so far that clock-watching had returned, the slacker's code, the concept of weekend. It had been a humdrum couple of days, reaffirming his belief in reincarnation: everything was so boring that this could not be the first time he'd experienced it. A cheerful thought, in its way, given the catastrophe. We'll be back. He dropped his pack, switched off the torch in his helmet, and pushed his forehead to the glass as if he were at his uncle's, rearranging the architecture into a message. The towers emerged out of smudged charcoal, a collection of figments and notions of things. He was fifteen floors up, in the heart of Zone One, and shapes trudged like slaves higher and higher into midtown.

They called him Mark Spitz nowadays. He didn't mind.

Mark Spitz and the rest of Omega Unit were half done with 135 Duane Street, chugging down from the roof at a productive clip. All clear so far. Only a few signs of mayhem in the building. A ransacked petty cash drawer on eighteen, half-eaten takeout rotting on scattered desks: superannuated currency and the final lunches. As in most businesses they swept, the offices had shut their doors before things completely deteriorated. The chairs were snug at their desks, where they had been tucked by the maintenance crew on their last night of work, the last sane evening in the world, only a few askew and facing the doors in trample-exit disarray.

In the silence, Mark Spitz signed off on a rest period for himself. Who knew? If things had been otherwise, he might have taken a position in this very firm, once he completed the obstacles attendant to a law degree. He'd been taking prep classes when the curtain fell and hadn't worried about getting in somewhere, or graduating or getting some brand of job afterward. He'd never had trouble with the American checklist, having successfully executed all the hurdles of his life's stages, from preschool to junior high to college, with unwavering competence and nary a wobble into exceptionality or failure. He possessed a strange facility for the mandatory. Two days into kindergarten, for example, he attained the level of socialization deemed appropriate for those of his age and socioeconomic milieu (sharing, no biting, an almost soulful contemplation of instructions from people in authority) with a minimum of fuss. He nailed milestone after developmental milestone, as if every twitch were coached. Had they been aware of his location, child behaviorists would have cherished him, observing him through binoculars and scratching their ledgers as he confirmed their data and theories in his anonymous travails. He was their typical, he was their most, he was their average, receiving hearty thumbs-ups from the gents in the black van parked a discreet distance across the street. In this world, however, his reward was that void attending most human endeavor, with which all are well acquainted. His accomplishments, such as they were, gathered on the heap of the unsung.

Mark Spitz kept his eyes open and watched his environment for cues, a survivalist even at a tender age. There was a code in every interaction, and he tuned in. He adjusted easily to the introduction of letter grades, that first measure of one's facility with arbitrary contests. He staked out the B or the B chose him: it was his native land, and in high school and college he did not stray over the county line. At any rate his lot was irrevocable. He was not made team captain, nor was he the last one picked. He sidestepped detention and honor rolls with equal aplomb. Mark Spitz's high school had abolished the yearbook practice of nominating students the Most Likely to Do This or That, in the spirit of universal self-esteem following a host of acrimonious parent-teacher summits, but his most appropriate designation would have been Most Likely Not to Be Named the Most Likely Anything, and this was not a category. His aptitude lay in the well-executed muddle, never shining, never flunking, but gathering himself for what it took to progress past life's next random obstacle. It was his solemn expertise.

Got him this far.

He burped up some of that morning's breakfast paste, which had been concocted, according to the minuscule promises on the side of the tube, to replicate a nutritionist's concept of how mama's flapjacks topped with fresh blueberries tasted. His hand leaped to his mouth before he remembered he was alone. The attorneys had leased four floors, a sleek warren, and hadn't been doing too bad for themselves from the extent of their renovation. The floors above were chopped up into drab and modest suites, with dreary watercolors hooked into the spongy drywall of the waiting rooms and the same scuffed puke-pink tiles underfoot. Amenable leases made for a varied group of tenants, as motley as the collection found in the average rush-hour subway car. His unit swept consulting firms with fleet and efficient-sounding names, they poked through the supply rooms of prosthetics dealers and mail-order seed companies. They swept travel agencies nearly extinct in an internet age, the exhortations and invitations on the posters hitting shrill and desperate registers. On nineteen, they walked in formation through the soundproofed rooms of a movie-production house that specialized in straight-to-video martial arts flicks and in the gloom mistook a cardboard cutout of an action hero for a hostile. They were in the same kind of places day after day. Keys for the communal bathrooms down the hall hung on His and Hers hooks in Reception, affixed to broad plastic tongues. Recycled paper stretched expectantly across tables in doctors' examination rooms like a smear of oatmeal and the magazines in the waiting rooms described an exuberant age now remote and hard to reconcile. It was impossible to find a gossip magazine or newsweekly that had been published beyond a certain date. There was no more gossip and no more news.

When they stepped into the lawyers' suite they stumbled into a sophisticated grotto, as if the floors had been dealt into the building from some more upscale deck. In the waiting room, their helmet lights roved over the perplexing geometric forms in the carpet that they sullied with their combat boots, the broad panels of dark zebra wood covering the walls with elegant surety, and the low, sleek furniture that promised bruises yet, when tested, compressed one's body according to newly discovered principles of somatic harmony. Their three lights converged on the portrait of a man with flinty eyes and the narrowed mouth of a peckish fox--one of the founding fathers keeping watch from the great beyond. After a pause their lights diverged again, groping for movement in the corners and dark places.

Mark Spitz felt it the instant they pushed in the glass doors and saw the firm's name hovering in grim steel letters over the receptionist's desk: these guys will crush you. Tradition and hard deals, inviolable fine print that would outlast its framers. He didn't know the nature of their practice. Perhaps they only represented charities and nonprofits, but in that case he was sure their clients out-healed, out-helping-handed, overall out-charitied their competing charities, if it can be said that charities competed with one another. But of course they must, he thought. Even angels are animals.

Once inside, the unit split up and he swept solo through the workstations. The office furniture was hypermodern and toylike, fit for an app garage or a graphic-design firm keen on sketching the future. The surfaces of the desks were thick and transparent, hacked out of plastic and elevating the curvilinear monitors and keyboards in dioramas of productivity. The empty ergonomic chairs posed like amiable spiders, whispering a multiplicity of comfort and lumbar massage. He saw himself aloft on the webbing of the seat, wearing the suspenders and cuff links of his tribe, releasing wisps of unctuous cologne whenever he moved his body. Bring me the file, please. He goosed a leprechaun bobblehead with his assault rifle and sent it wiggling on its spring. Per his custom, he avoided looking at the family pictures.

He interpreted: We are studied in the old ways, and acolytes of what's to come. A fine home for a promising young lawyer. For all that had transpired outside this building in the great unraveling, the pure industry of this place still persisted. Insisting on itself. He felt it in his skin even though the people were gone and all the soft stuff was dead. Moldering lumps shot out tendrils in the common-area fridges, and the vicinities of the dry water-coolers were devoid of shit-shooting idlers, but the ferns and yuccas were still green because they were plastic, the awards and citations remained secure on the walls, and the portraits of the bigwigs preserved one afternoon's calculated poses. These things remained.

He heard three shots from the other end of the floor, in familiar staccato--Gary shooting open a door. Fort Wonton warned them repeatedly about brutalizing, vandalizing, or even extending the odd negative vibe toward the properties whenever possible, for obvious reasons. For convenience's sake, Buffalo printed up No-No Cards--laminated instruction squares that the sweepers were supposed to keep on their persons at all times. The broken window with the red circle and diagonal line across it was at the top of the deck. Gary couldn't restrain himself, however, future tenants and the grand design be damned. Why use the doorknob when you could light it up? "They can fix it when they move in," Gary said, as the smoke cleared from the C-4 he'd used to vaporize the door of an Italian restaurant's walk-in freezer. His crazy grin. As if cleaning up after semiautomatic fire were the same as touching up dings in the plaster where the previous tenants had hung their black-and-white landscapes. Gary dematerialized the half-closed curtains of department-store dressing rooms, converted expensive Japanese room dividers into twisting confetti, and woe to bathroom stalls with sticky hinges.

"Coulda been one of them in there trying to remember how to take a piss," Gary explained.

"Never heard of such a case," Kaitlyn said.

"This is New York City, man."

Kaitlyn rationed him to one unnecessary act of carnage per floor and Gary made the appropriate adjustments, even applying timeworn principles of suspense to when he attacked his targets. They never knew when he'd strike next. He had just made his selection for the fifteenth floor.

Mark Spitz got in gear. Gary was close and he wanted to look busy in order to head off any wisecracks about his work ethic. He turned from the window and briefly caught an edge of last night's dream--he was in the country, undulating farmland, perhaps at Happy Acres--before it squirmed away. He shook it off. He kicked in the door to Human Resources, thought "Maybe I'll come back and ask for a job when this is all over," and saw his error.

The door was not the issue. After all this time in the Zone, he knew the right place to slam these keypad doors so that they popped open, presto. The mistake lay in succumbing to the prevailing delusions. Giving in to that pandemic of pheenie optimism that was inescapable nowadays and made it hard to breathe, a contagion in its own right. They were on him in an instant.

They had been there since the beginning, the four of them. Perhaps one had been attacked down on the pavement by "some nut," that colorful metropolitan euphemism, and was sent home after getting a few stitches at the local underfunded ER--Do you have your insurance card handy?--before they understood the nature of the disaster. Then she turned feral and one lucky coworker made it out in time, locked the door, and left her cubicle-mates to fend for themselves. Some variation on that story. No one came back to help because they were overcome by their own situations.

He was the first live human being the dead had seen since the start, and the former ladies of HR were starving. After all this time, they were a thin membrane of meat stretched over bone. Their skirts were bunched on the floor, having slid off their shrunken hips long ago, and the dark jackets of their sensible dress suits were made darker still, and stiffened, by jagged arterial splashes and kernels of gore. Two of them had lost their high heels at some point during the long years of bumping around the room looking for an exit. One of them wore the same brand of panties his last two girlfriends had favored, with the distinctive frilled red edges. They were grimed and torn. He couldn't help but notice the thong, current demands on his attention aside. He'd made a host of necessary recalibrations but the old self made noises from time to time. Then that new self stepped in. He had to put them down.

The youngest one wore its hair in a style popularized by a sitcom that took as its subject three roommates of seemingly immiscible temperaments and their attempts to make their fortune in this contusing city. A crotchety super and a flamboyant neighbor rounded out the ensemble, and it was still appointment television, a top-ten show, at the time of the disaster. The hairdo was called a Marge, after Margaret Halstead, the charmingly klutzy actress who'd trademarked it in the old days of red carpets and flirty tête-à-têtes on late-night chat shows. She hadn't done anything for Mark Spitz--too skinny--but the legions of young ladies who fled their stunted towns and municipalities to reinvent themselves in the Big City recognized something in her flailings, and fetishized this piece of her. They had been reeled in by the old lie of making a name for oneself in the city; now they had to figure out how to survive. Hunt-and-gather rent money, forage ramen. In this week's written-up clubs and small-plate eateries, loose flocks of Marges were invariably underfoot, sipping cinnamon-rimmed novelty cocktails and laughing too eagerly.

The Marge nabbed Mark Spitz first, snatching his left bicep and taking it in its teeth. It never looked at his face, ferocious on the mesh of his fatigues and aware exclusively of the meat it knew was underneath. He'd forgotten how much it hurt when a skel tried to get a good chomp going; it had been some time since one had gotten this close. The Marge couldn't penetrate the intricate blend of plastic fibers--only an idiot cast aspersions on the new miracle fabric, born of plague-era necessity--but each rabid sally sent him howling. The rest of Omega would be here soon, tromping down the halls. He heard the sound of teeth splintering. The sweepers were supposed to stay together, the Lieutenant was firm about that, to prevent this very situation. But the last few grids had been so quiet, they hadn't stuck to orders.

The Marge was occupied for the moment--it took time for their diminished perceptions to catch on to the futility of the enterprise--so he directed his attention to the skel charging from two o'clock.

The bushy eyebrows, the whisper of a mustache--it was hard to avoid recognizing in this one his sixth-grade English teacher, Miss Alcott, who had diagrammed sentences in a soupy Bronx accent and fancied old-style torpedo bras. She smelled of jasmine when she passed his desk, plucking vocab quizzes. He'd always had a soft spot for Miss Alcott.

This one was probably the first infected. Everything below its eyes was a dark, gory muzzle, the telltale smear produced when a face burrowed deep into live flesh. Just another day at the office when she gets bit by some New York whacko while loading up on spring mix at the corner deli's Salad Lounge. Full of plague but unaware. That night the shivers came, and the legendary bad dreams everyone had heard about and prayed against--the harbingers, the nightmares that were the subconscious rummaging through a lifetime for some kind of answer to or escape from this trap. With those early strains, you might last a whole day without flipping. She returns to her cubicle the next day because she hadn't taken a sick day in years. Then transformation.

It happened every so often that he recognized something in these monsters, they looked like someone he had known or loved. Eighth-grade lab partner or lanky cashier at the mini-mart, college girlfriend spring semester junior year. Uncle. He lost time as his brain buzzed on itself. He had learned to get on with the business at hand, but on occasion Mark Spitz fixed on eyes or a mouth that belonged to someone lost, actively seeking concordance. He hadn't decided if conjuring an acquaintance or loved one into these creatures was an advantage or not. A "successful adaptation," as the Lieutenant put it. When Mark Spitz thought about it--when they were bivouacked at night in some rich fuck's loft or up to their chins in their sleeping bags on the floor of a Wall Street conference room--perhaps these recognitions ennobled his mission: He was performing an act of mercy. These things might have been people he knew, not-quites and almost-could-be's, they were somebody's family and they deserved release from their blood sentence. He was an angel of death ushering these things on their stalled journey from this sphere. Not a mere exterminator eliminating pests. He shot Miss Alcott in the face, converting resemblance to red mist, and then all the air was wrung from his chest and he was on the carpet.

The one in the candy-pink dress suit had tackled him--the Marge wrenched him off-balance with her aggressive pursuit, and he couldn't right himself once this new one rammed him. It straddled him and he felt the rifle grind into his back; he'd slung it over his shoulder during his pit stop by the window. He looked into the skel's spiderweb of gray hair. The jutting pins, the dumb thought: How long did it take for its wig to fall off? (Time slowed down in situations like this, to grant dread a bigger stage.) The thing on top of him clawed into his neck with its seven remaining fingers. The other fingers had been bitten off at the knuckle and likely jostled about in the belly of one of its former coworkers. He realized he'd dropped his pistol in the fall.

Surely this one possessed the determination befitting a true denizen of Human Resources, endowed by nature and shaped by nurture into its worthy avatar. The plague's recalibration of its faculties only honed the underlying qualities. Mark Spitz's first office job had involved rattling a mail cart down the corridors of a payroll company located in a Hempstead office park not too far from his house. As a child he'd decided the complex was some sort of clearinghouse for military intelligence, mistaking its impassive façades for clandestine power. The veil was lifted the first day. The other guys in the mail room were his age and when his boss shut the door to his office they got a splendid doofus chorus going. The only downer was the ogre head of Human Resources, who'd been relentless about Mark Spitz's paperwork, downright insidious about his W-this, W-that, the proper credentials. She served the places where human beings were paraphrased into numbers, components of bundled data to be shot out through fiber-optic cable toward meaning.

"Your check can't be processed without complete paperwork." How was he supposed to know where his Social Security card was? His bedroom was a dig. He needed special excavating tools to find socks. "You're not in the system. You might as well not exist." Where was The System now, after the calamity? It had been an invisible fist floating above them for so long and now the fingers were open, disjoined, and everything slipped through, everything escaped. By August he'd scurried back to the service industry, doling out pomegranate martinis on Ladies' Wednesdays. He tried to heave Human Resources off him. The skel's eyes dipped to the soft meat of his face. It went in for a bite.

Like most of the grunts in the sweeper units, he declined to wear his faceplate, despite the regulations, No-No Card, and all the times he'd witnessed that decision turn out poorly. You couldn't hump forty pounds of equipment up a New York City high-rise while fogging up a plastic faceplate. Supply lines were still a broken mess all around, and the sweepers were the lowest priority in everything except when it came to bullets. Everybody had enough bullets, from the Northeast Corridor to Omaha to Zone One, now that Buffalo had Barnes up and running, the former home-makers and chronic asthmatics and assorted old biddies on the assembly lines cranking out ammo day and night. Nowadays, Rosie the Riveter was a former soccer mom who had just opened her own catering business when Last Night came down and her husband and kids were eaten by a parking attendant at the local megamall's discount-appliance emporium.

Priorities: First Buffalo got what they needed, then the military, then civilian population, and finally the sweepers. Which meant Mark Spitz didn't have proper face gear, one of those fancy marine numbers with the lightweight impenetrable wire, proper ventilation, and neck sheathing. He'd seen one sad sack who patrolled in a goalie's mask--an affectation, really, because it was too easy for one of the skels to rip it off. Some of the guys in the other units had taken to drilling air holes into the thick plastic faceplate, and he made a note to try that last trick if he made it out of this mess. Face gear or no, however, you never wanted to get pinned.

First time he saw someone get pinned by a group of them was in the early days, must have been, because he was still trying to get out of his neighborhood. An invisible barrier surrounded his zip code, each opportunity for escape was undermined by his certainty that things were about to go back to normal, that this savage new reality could not hold. He was wending to the strip mall half a mile from his house--civilization's nearest representative consisted of the 24-7 gas-and-cigarette vendor, the famously grim pizza-and-sub place, and a moribund dry cleaner, that reliable exacerbator of stains. Mark Spitz had spent the night up in the arms of an oak, the first of many tree-limb slumber parties to come. It occurred to him that if anyone was equipped for this "new situation," it was Mr. Provenzano and the reputed arsenal he had stashed in the basement of the pizza shop. The basement weapons stash was a sturdy and beloved topic of speculation among mayhem-adoring kids and insinuating grown-ups alike, fed by rumors of mob-induction ceremonies and a robust lore centered around the meat grinder.

Mark Spitz didn't know if the pizza shop was accessible, but it was a better prospect than the silenced lanes of New Grove, the subdivision his parents had moved to thirty years before, their wedding gifts sitting in the foyer when they returned from their honeymoon. He waited for daylight and beat his numb legs and arms to get the blood into them. Then he cut through the clutch backyards, the hardwired shortcuts from his kid days, and crept and scrambled around the half-finished mini-mansion on Claremont trying to get the lay of the street before making a break for the main road. The construction company had lost liquidity the year before and his parents complained about the eyesore as if under contractual obligation. The plastic sheets rippling where there should have been walls, the great mounds of orange dirt that seeped out in defeat after every rain. It was a breeding ground for mosquitoes, his parents fussed. They spread sickness.

The old man came jogging down the asphalt. A gray cardigan flapped over his bare chest, and green plaid pants cut off a comical length above his slippers, which were secured to his feet with black electrical tape. Six of the devils congregated on the lawn of a mock Tudor halfway down the street, and they turned at the sound of him. The old man ran faster, veering to arc around them, but he didn't make it. Dark aviator glasses covered his eyes and he had a wireless rig stuck in his ear, into which he narrated his progress. Was the old man actually talking to someone? The phones were dead, all the stalwart and dependable networks had ceased to be, but maybe the authorities were fixing things out there, Mark Spitz remembered thinking, the government was getting control. Authority laying on hands. Two of them got the old man down and then all of them were on him like ants who received a chemical telegram about a lollipop on the sidewalk. There was no way the old man could get up. It was quick. They each grabbed a limb or convenient point of purchase while he screamed. They began to eat him, and his screaming brought more of them teetering down the street. All over the world this was happening: a group of them hears food at the same time and they twist their bodies in unison, that dumb choreography. A cord of blood zipped up out of their huddle, hanging--that's how he always recalled it, that's what he saw as he ducked down behind the cinder blocks and watched. A length of red string pinned briefly to the air, until the wind knocked it away. They didn't fight over the old man. They each got a piece. Of course there couldn't have been anyone at the other end of the call because the phones never came back on. The old man had been barking into the void.

Let them pin you and you were dead. Let them pin you and there was no way to stop them from ripping off whatever pitiful armor you'd wrapped yourself in, stuck your hopes to. They'd get you. He had wafted through damp summer afternoons at Long Beach, amid the chewy scent of fried clams. Cartoon lobster on the thin plastic bib, the stupefying melody of the predatory ice-cream truck. (Yes, time slowed down to give those competing factions in him room to rumble, the dark and the light.) They'd wrestle Mark Spitz out of his fatigues the way he'd pried meat out of claws, tails, shells. They were a legion of teeth and fingers. He grabbed Human Resources' wispy hair and yanked its head out of its advance toward his nose. He didn't have a free hand to grab his knife, but he pinpointed the place in its skull where he would have stuck it. He looked after his pistol. It lay near his waist. The Marge was on its knees, creeping down his arm to the gap between the mesh sleeve and glove. The light was such that he saw his face reflected in Human Resources' milky eyes, fixed in that mindless void. Then he felt the fourth skel grab his leg and he lost himself.

He had the forbidden thought.

He woke. He bucked Human Resources off his chest and it tumbled onto the Marge. Mark Spitz grabbed his pistol and shot it in the forehead.

The fourth one tried to grit down on his leg and was thwarted by his fatigues. Most of the meat in its face had been chewed away. (He'd seen, in that first week, a Samaritan administer chest compresses to a stricken fellow citizen, lean down to give mouth-to-mouth, and have his nose ripped off.) Thin, wide loops of gold dangled from its earlobes, chiming against each other as it scuttled up his body, and he aimed at a place at the top of its skull and put it down.

Gary said, "I got you." Gary kicked the Marge off him and held its shoulder down with his boot.

Mark Spitz turned his face to avoid the spray, squeezing his lips into a crack. He heard two shots. All four were down.

"Mark Spitz, Mark Spitz," Gary said. "We didn't know you liked the older ladies."

Revue de presse

“It's a book you want to read rather than one you should read…while still providing the chilling, fleshy pleasures of zombies who lurch, pursue, hunger. . . . One of the best books of the year.” —Esquire

"Whitehead writes with economy, texture and punch. . . . A cool, thoughtful and, for all its ludic violence, strangely tender novel, a celebration of modernity and a pre-emptive wake for its demise." —The New York Times Book Review

 “Uniquely affecting. . . . A rich mix of wartime satire and darkly funny social commentary. . . . Whether charged with bleak sadness or bone-dry humor, sentences worth savoring pile up faster than the body count.” —The Los Angeles Times

"A zombie story with brains. . . . [Whitehead is a] certifiably hip writer who can spin gore into macabre poetry.” —The Washington Post

"Zone One is not the work of a serious novelist slumming it with some genre-novel cash-in, but rather a lovely piece of writing...Whitehead picks at our nervousness about order's thin grip, suggesting just how flimsy the societal walls are that make possible our hopes and dreams and overly complicated coffee orders." —Entertainment Weekly
 
"Colson Whitehead's Zone One isn't your typical zombie novel; it trades fright-night fodder for empathy and chilling realism…yielding a haunting portrait of a lonely, desolate, and uncertain city." —Elle
 
"The stylistic exuberance on display would be overwhelming if it weren't so well controlled, shifting weightlessly from M*A*S*H-style battle narrative to a melancholic Blade Runner-like vision of Urban devastation. . . . The smallest of details is marked by originality of language." —The New Statesman
 
“Leave it to the supremely thoughtful and snarkily funny Whitehead to do interesting things with a topic that lately has seated itself in the public’s imagination. . . . Not just a juicy experiment in genre fiction but a brilliantly disguised meditation on a ‘flatlined culture’ in need of its own rejuvenating psychic jolt.” —The Seattle Times
 
“If you’re going to break down and read a zombie novel, make it this one.” —The Wall Street Journal
 
“Stylishly entertaining. . . . [Whitehead’s] sentences are interesting, his plotting brisk, his descriptions lucid, and his asides clever.” —The Plain Dealer
 
“In precise, elegant prose [Whitehead] deliberately layers the ever more disturbing elements of the story, one upon the other, allowing the reader to discover the horror in the same fragmentary manner we imagine frantic survivors might. . . . Resembles Cormac McCarthy’s The Road. . . . An intense meditation on the way we cope with disaster and the stubborn, often inexplicable, persistence of the human will to survive.” —Minneapolis Star-Tribune
 
 “A sharp commentary on the rat race of contemporary life. . . . Zone One lifts all the gore and gunfire and oozy bits one might expect from the genre. But this is Whitehead, so there’s also popular culture to critique and parallels to draw between zombies and contemporary society.” —The Houston Chronicle
 
[Whitehead] takes the genre of horror fiction, mines both its sense of humor and self-seriousness, and emerges with a brilliant allegory of New York living.” —New York Observer
 
"Highbrow novelist Colson Whitehead plunges into the unstoppable zombie genre in this subtle meditation on loss and love in a post-apocalyptic Manhattan, which has become the city that never dies." —USA Today

"For-real literary—gory, lyrical, human, precise." —GQ

"A satirist so playful that you often don't even feel his scalpel, Whitehead toys with the shards of contemporary culture with an infectious glee. Here he upends the tropes of the zombie story in the canyons of lower Manhattan. Horror has rarely been so unsettling, and never so grimly funny." —The Daily Beast


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1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Not what you'd expect 30 mai 2012
Format:Relié
Loved this story. Certainly not what I'd expect from Colson. But very well put together, and continues to show what a wordsmith he is. Well done.
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Amazon.com: 2.9 étoiles sur 5  401 commentaires
149 internautes sur 167 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Coulda' been a contenda... 28 octobre 2011
Par Robert Johnson - Publié sur Amazon.com
Format:Format Kindle|Achat vérifié
Did I like this book? Yes, actually. Instead of splatter, gore and terror, the author chose to think out (which seems to trouble some reviewers no end) what it would be like to try to live within a collapsed society, with a collapsed psyche and collapsed dreams. Instead of inventing heroic and invincible characters to slash and crash their way through hopeless situations, Whitehead's characters, each one flawed and vulnerable, bumble and stumble their way to another day of survival, which is how most real human beings are, after all. The idea of this zombie book was not to be like the other ones, but to work out daily life in which all norms have been shattered, and in which the common and regular are - then as now - the pawns of the great and mighty.

That said, Whitehead is this book's worst enemy. He takes every opportunity to show off his inventiveness, preen his considerable literary plumage and display his intimate acquaintance with the thesaurus. In playing with the narrative thread and timeline, sometimes just because he can, he adds unnecessary stress to what is not a terribly sturdy plot in the first place. Perhaps as he matures, he will write to make the story the thing instead of himself. If this book had 35% less exhibitionism and 30% more plot, it could have been a real showpiece. Instead, it is a pleasant, if sometimes tedious diversion written by an obviously talented, but all-too-self-indulgent author.
126 internautes sur 150 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 a tedious but amusing read 10 septembre 2011
Par Jordan Michel - Publié sur Amazon.com
Format:Relié|Commentaire client Vine pour produit gratuit (De quoi s'agit-il?)
If like me you were excited to hear that a well-respected, intellectual author has ventured into the apocalypse genre, I should warn you, Zone One is not The Road (Oprah's Book Club). The Road had characters and a relationship that you could connect to and an engaging plot. Zone One has none of that. It has a main character whose most notable feature is his mediocrity, a few moments of mild suspense, and an unbearably tedious pace.

It seems that the reviews for this book are distinctly divided. Fans of the zombie/apocalypse genre have offered some pretty scathing reviews and low ratings. Fans of "literary fiction" are giving it a bit more credit. I'm generally more aligned with the literary fiction readers, but I think the zombie fans have some legitimate criticisms.

The main criticism against this book seems to be the lack of plot, and I can't disagree. A lot of the book is mildly amusing; it's just not very compelling. Even the (rare) engaging passages are frequently interrupted by reflections about the past, which significantly slow the pace. It took me about three time as long as it should have to finish the book, because I literally fell asleep within a few pages nearly every time I picked it up.

Although there's little plot, the book's main character is somewhat interesting. He's survived a long time since the "Last Night." His survival, though, is not due to his courage, strength, or cleverness. He's completely average with the exception of his cockroach-like survival instinct. Although readers are unlikely to fall in love with Mark Spitz, he provides an amusing lens for this story.
30 internautes sur 36 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Many Words Do Not a Story Make 26 avril 2012
Par D. Julian - Publié sur Amazon.com
Format:Format Kindle
I think Whitehead suffers from a problem which is all too common among those who hold their own intellect in the highest regard. He's boring, and he doesn't know it. He holds forth like an armchair philosopher at a dinner party while his audience is secretly hoping for another drink.

He also apparently suffers from a complete lack of knowledge of humanity. Perhaps this is an unfortunate philosophical commitment on Whitehead's part. His characters are fixed, static, cesspools--they do not change; they do not learn; they do not grow. Perhaps he thinks this is the way in which all people really operate. If so, I feel badly for him.

Worse yet--a post-apocalyptic tale involving zombies (and involving even zombies that do not move or threaten harm) offers a wide range of philosophical and ethical issues with which to grapple. Somehow, the author misses most of these and chooses to focus on one issue--that the protagonist is mediocre and therefore somehow apt for the situation at hand. It's infuriating and ultimately demoralizing. John Gardner put it best: "Fiddling with the hairs on an elephant's nose is indecent when the elephant happens to be standing on the baby."

I really wanted to like Zone One. I forced myself through to the end in the hopes that at some point it would move beyond mere character sketch and into the realm of story. It never did. This likely results from what I just mentioned--his characters never learn, change, or grow. If they did, this sketch would move towards story.

In Zone One, Whitehead demonstrated that he can obviously write, but he cannot tell a story.
95 internautes sur 121 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Whitehead's Best Book Since "The Intuitionist" 27 août 2011
Par A. Ross - Publié sur Amazon.com
Format:Relié|Commentaire client Vine pour produit gratuit (De quoi s'agit-il?)
Where to begin? I suppose I should start by saying that while I come from that tribe of geeks that love all things zombie-related (films, comics, videogames, boardgames, etc.), I ran out of enthusiasm for the genre a few years ago. The template for the zombie story is just too confining, there's not that much new or different to be done with it. However, despite this weariness for the genre, I immediately picked this up because it was a Colson Whitehead book. He's one of the few authors whom I will actually rush out to buy (others include Michael Chabon, Nick Hornby, and George Pelecanos, just to name a few -- Jonathan Lethem used to be on the list, but no longer). That said, my experience with his books has been a slow slide of diminishing returns: I loved (and still love) his debut The Intuitionist, his second book (John Henry Days) is flawed but still fully engaging, the third book (Apex Hides the Hurt) felt like a slight trifle, and his most recent book (Sag Harbor) was just too personal for me to connect with. However, this is an excellent book in which Whitehead combines his controlled freestyling prose with the unforgiving, bleak tone of Cormac McCarthy's The Road or No Country for Old Men, in order to document the downfall of his beloved Manhattan, and indeed, the American empire. Many people (including the publicist who wrote the back cover copy) seem to be mistakenly using the word "satire" to describe the book -- it's not a satire, it's a scathing, raging critique of modern America.

Don't pick this up expecting a literary "take" on the zombie action thriller, a few scenes aside, there isn't much action. The bulk of the book takes place inside the protagonist's head, as he trudges around a mostly-safe part of Manhattan as part of a three-person militia unit "sweeping" the blocks for stray zombies the Marines missed when they secured this part of the island. As they clear Manhattan for the impending resettlement, he mentally documents the pre-"Last Night" world and its ridiculous concerns, ranging from consumer items to real estate to sitcoms, and so on. There are plenty of flashbacks to his year on the run in the wilderness, and we get plenty of stories from other characters about where they were when it all came crashing down. These provide the necessary "what would I do" moments which are integral to the zombie genre (and many other horror genres for that matter), but make no mistake, this book is only headed to one place. There's only three ways a zombie story can end, good, bad, or setup for the sequel, and I'm not spoiling anything by telling you that Whitehead is not interested in building any suspense, because every so often he'll slip in a direct statement that tells you it's not going to end well. The book is told from the perspective of a Sunday, and the "action" mainly unfolds over the previous two days, with lots of flashbacks to earlier times. I suppose this flashback within a flashback chronology might be confusing to some people, but I never had a problem with it.

It's nothing new to use genre forms to tell allegorical tales, and American materialism has been skewered by the zombie-maestro himself, George Romero, in Dawn of the Dead. But the sheer skill at work here makes this well worth reading, whether you're a zombie enthusiast, a fan of Whitehead's, or just a lover of interesting fiction.
30 internautes sur 37 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Wow, this was horrible. 21 mai 2012
Par jreed - Publié sur Amazon.com
Format:Relié
I have only skipped through a book a few times because it was so irritating and horrible. I will not exaggerate because I don't have to for it too seem as bad as it is. Here are the issues:

1. It feels like he challenged himself to use every big word in the English language.....in every chapter. I don't mind big words and I fully understand them. However, I don't need an author to use a minimum of 1 in every sentence. We know you are smart. You don't have to prove it in ever other word.

2. You don't have to describe everything he sees, smells, touches, or imagines. I was one description away from freaking out and that was on page 4.

3. This is a Zombie book in the way Harry Potter is a movie about kids at school. Yea, it is in there, but it is an afterthought to the real purpose of the book......which seems to be to find out how many words he can use to actually say nothing. Example?

"When they stepped into the lawyers' suite they stumbled into a sophisticated grotto, as if the floor has been dealt into the building from some more upscale deck. In the waiting room, their helmet lights roved over the perplexing gemoetric forms in the carpet that they sullied with their combat boots, the broad panels of dark zebra wood covering the walls with elegant surety, and the low, sleek furniture that promised bruises yet, when tested, compressed one's body according to newly discovered princliples of somatic harmony."

Um.............What? You are talking about looking for zombies in a building and this is your description? If "Somatic harmony" is an exciting phrase for your zombie movies, by all means, grap this book because I don't remember hearing that phrase in The Walking Dead!
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