By Philip K. Dick
Dans ce roman inédit jusqu'à ce jour et miraculeusement retrouvé, Philip ok. Dick, plus visionnaire que jamais, nous livre los angeles radioscopie d'une Amérique urbaine suffocante à travers le portrait psychological d'un jeune homme au bord de l. a. crise.
Oakland, Californie. Stuart Hadley a apparemment tout pour être heureux : un bon task, vendeur de télés, une femme amoureuse, une petite vie tranquille. D'où vient alors ce malaise qui ne le quitte pas, cette sensation d'être piégé dans sa propre life ? L'amour, l'argent, los angeles consommation, le travail : aucune des valeurs prônées par los angeles société américaine ne semble lui fournir los angeles moindre solution.
Reste l. a. tentation des extrêmes... Deux rencontres vont peut-être réanimer sa vie : Theodore Beckheim, chief charismatique de los angeles société des Gardiens de Jésus, et los angeles mystérieuse Marsha Frazier, rédactrice en chef d'un magazine cryptofasciste. Mais là encore, les réponses ne sont-elles pas illusoires ?
S'il n'emprunte pas les chemins de l. a. science-fiction, avec ce roman écrit en 1953, Philip ok. Dick se montre tout aussi prophétique. l. a. query de l'intolérance politique et religieuse comme remède au malaise social et existentiel, plus d'actualité que jamais, y est posée avec une exceptionnelle acuité. Un livre noir qui réjouira les nombreux lecteurs de Dick et fera découvrir aux autres un romancier essentiel.
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Additional info for Les voix de l'asphalte
He tried to do more than just give us faceless unidentified Inuit or Samoans or Irishmen. He pushed film to its filmic specific limit, letting the audience enjoy and identify with a real, albeit exotic, individual. This may be Flaherty’s most important contribution to ethnographic film, and its influence is clear in The Hunters and Dead Birds. It is safe to say that no ethnographic film has suffered from focusing too much on an individual, and many are flawed by not doing so. Flaherty tried to tell a story: not, as in novels or scripted film, a story of human interaction or passion or the search for love or wealth or power, but a story of the individual facing crisis.
Another film called simply Eskimo treats an Inuit love story disrupted by the captain of a trading vessel frozen in the ice near a village. This tradition continues on in the United States with such recent films as the 1974 Inuit story White Dawn and in Canada with the first Inuit-made film, Atanarjuat: The Fast Runner. Other masterpieces of what might be called ethnographic fiction are Satyajit Ray’s Apu Trilogy (Pather Panchali, 1955; The Unvanquished, 1956; and The World of Apu, 1959), which follows Apu and his family from boyhood in a Bengal village to university life in Calcutta (see Wood 1971); and the Algerian-French production Ramparts of Clay (1969), based on Jean Duvignaud’s monograph on a Tunisian village, Change at Shebika (1970).
We will consider this question and its implications in the next chapter. n at iv e fee d b a c k The Flaherty legend relates how Flaherty developed his footage each evening and screened it for his subjects, getting their reactions and advice and thus making them real collaborators in the filmmaking process. This is a fascinating idea. It has the potentially great advantage of making film more truly reflective of the natives’ insight into their own culture. Flaherty may have first showed his footage to his Inuit friends as entertainment.