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Download The Jagged Orbit ePub

by John Brunner

Download The Jagged Orbit ePub
  • ISBN 0099058405
  • ISBN13 978-0099058403
  • Language English
  • Author John Brunner
  • Publisher Arrow; New Impression edition (1979)
  • Pages 400
  • Formats doc docx lrf mobi
  • Category Fantasy
  • Subcategory Fantasy
  • Size ePub 1885 kb
  • Size Fb2 1510 kb
  • Rating: 4.4
  • Votes: 364


The Jagged Orbit book.

The Jagged Orbit book. It remains a compelling and chilling tour de force three decades o. .

Home John Brunner The Jagged Orbit. The jagged orbit, . 2.

This is a work of fiction FOR CHIP. the only person I know who really can fly a jagged orbit.

This is a work of fiction. All the characters and events portrayed in this book are fictional, and any resemblance to real people or incidents is purely coincidental. eISBN: 978-1-61756-96. One. Put yourself in my place.

The Jagged Orbit is a science fiction novel by British writer John Brunner. It is similar to his earlier novel Stand on Zanzibar in its narrative style and dystopic outlook. It has exactly 100 titled chapters, which vary from several pages to part of one word. It was first published in 1969 with cover art by Leo and Diane Dillon, in the Ace Science Fiction Specials line issued by Ace Books.

John Brunner's clear prose is a great help to this story about the evils of racism. John Brunner (1934-1995) was a prolific British SF writer. He was a winner of the Hugo Award (for Stand on Zanzibar), the British Science Fiction Award and the Prix Apollo. Библиографические данные. This is a relatively young Brunner and is full of the Spirit of the 1960's, a very optimistic period. Пользовательский отзыв - kevinashley - LibraryThing. The Jagged Orbit Gateway Essentials.

t selling out to the Holocosmic directorate. He'd have been spared one of the most embarrassing episodes of his entire life. Attracted by the noise as he stowed his fighting gear in its rack, his wife Nora appeared on the internal com-web screen in the hallway.

In The Jagged Orbit, Brunner, writing at the peak of form that allowed him to create Stand on Zanzibar, takes a long .

In The Jagged Orbit, Brunner, writing at the peak of form that allowed him to create Stand on Zanzibar, takes a long, hard, disturbing, and hilarious look at the near and not-so-distant future. Hugo Award winner (Best Novel, Stand on Zanzibar) and British science fiction master John Brunner remains one of the most influential and respected authors of all time, and now many of his classic works are being reintroduced. For readers familiar with his vision, it is a chance to reexamine his thoughtful worlds and words. For new readers, Brunner’s work proves itself the very definition of timeless. Sci-fi & Fantasy Post-apocalyptic Fiction Dystopian.

In The Jagged Orbit, Brunner, writing at the peak of form that allowed him to create Stand on Zanzibar, takes a long, hard, disturbing, and hilarious look at the near and . The Jagged Orbit - John Brunner.

Book Club ed. Matthew Flamen, the last of the networks' spoolpigeons, is desperate for a big story

Book Club ed. Matthew Flamen, the last of the networks' spoolpigeons, is desperate for a big story.

Talk about The Jagged Orbit


Daiktilar
At age 71, I'v outgrown this particular style of scifi. He's a very good writer, but this book has a lot of alien words and names.
Levaq
If you've at all heard of John Brunner, it's probably by way of his masterpiece (and masterpiece of 1970s SF) "Stand on Zanzibar", which managed the neat trick of creating a book about overpopulation that actually felt clastrophobic while taking a cross-section of its overstuffed expanse and spraying it at the reader all at once. It remains an extraordinarily visceral experience and probably works better as a multi-faceted depiction of a broken world than its more famous cousin Harry Harrison's "Make Room! Make Room!" (the basis for a movie about the most notorious food ever). But Brunner didn't limit himself to just discussing one way we could mess up the world in the future, he decided to depress even further and force us to make our children feel guilty for years to come with three other novels along the same trajectory. The best of those "other ones" is probably "The Sheep Look Up", which I remember finding brutally savage and unsettling (plus the original cover of the people with sheep heads wearing gas masks I found inexplicably frightening, something the new "Doctor Who" television show would take advantage of years later) but I recall "The Shockwave Rider" being pretty decent. Which only leaves one more.

So here we are. Unlike the other novels, this one doesn't seem utterly obsessed with a single dire topic, instead propelling us to a future where pretty much everything is going wrong on various levels. In the not too distant future we've experienced some variation of race riots (somewhat quaint now, with divisions seemingly more centered around religious differences) so that black and white people have sectioned themselves off into various cities, with very little crossover between the two and what does exist winding up being newsworthy. Which is convenient because "spoolpigeons" use their media shows to report their versions of investigative journalism. Meanwhile people can ingest drugs and have unconscious visions of where the world is going, and one man thinks we're all just a little crazy inside, but it can be okay.

The structure of the novel takes on some forms of the techniques that Brunner would later, especially the fractured cross-section feel of events, especially in the beginning where it seems like you're stuck to a camera hopped up on speed, zipping through impressionistic scenes of this new future with all the focus of a hyperactive toddler. We're treated to snippets of narrative, news reports, essays and other clips that help to give this world some shape, although all it really does is highlight how strange everything is and how out of place we feel. All the jargon seems warped, the landscape feels familiar in a way that bad dreams do and we're aware that all of this has some basis in a world we once knew but there's nothing really to cling to or use to launch ourselves into understanding. About the only real similarity this world has to the one we know is that its written in English. Which makes it gleefully disorienting at first, probably the closest I'll ever come to knowing how a man from the 1500s would feel if he were suddenly dropped into the present day. The level of culture shock is intense and while I don't like to actively fight with the books I'm reading, I did enjoy having to spend time trying to find my footing, especially since the world itself feels so assured.

The plot leaps between several characters of varying importance, from the efforts of spoolpigeon Matthew Flamen to figure out who keeps interrupting his broadcasts and also get his wife out of the asylum, to the doctors in the asylum wanting to deposit everyone in their crazy bank, to the young lady who likes to see the future. The threads variously bundle and disperse, often interrupted by the politics going on in the background, which seems tangential to all the vastly smaller problems that are infesting the characters, until all of that starts having an effect as well.

When the book works, its startlingly effective, layering extrapolations of Things That Have Gone Wrong on top of each other until you really start to wonder what year he wrote this in. Part of its power comes from the fact that we're probably a lot closer to his version of the world in its jagged timbre than he was back in the seventies and while he was exaggerating the potentcies of the world's problems as both warning and narrative, a lot of this stuff doesn't seem like a huge leap. And while he's still figuring out his grand style, the bones of it here are still fertile ground, especially in all the jumping about, the snippets of chapters and especially the often hilariously sardonic chapter headings, which are both Greek chorus and MST3K, underlining and mocking all at the same time.

As for the plot itself . . . well, as I said, he's still trying to figure it out. He has all the elements in place but isn't quite able to integrate them properly, which means the book mostly coasts on feel, skimming the surface of this busted up world and depending on our affinity for the new and desire to explore to carry us along. It isn't clear what the plot is until very late into it and part of that is because the book somewhat lacks focus. "Stand on Zanzibar" was able to take a single dire issue, overpopulation, and craft a whole world around it. Here he has a world without a core, which means its a variety of issues all intersecting with each other but lacking a strong central premise to really grab us. If you're going to go with "everything is wrong" we can forgive the scattershot approach if the characters and/or the plot are really gripping. Here, too much feels ancillary, just a way to color in the blanks and when the real menace rears its ugly and less than abstract head, you wonder what the point of wasting time with all the other stuff was (for one, I'm not even sure how all the pythoness stuff fits in). When the plot finds itself direction (strongly, when Xavier Conroy shows up to explain all the stuff that the slow members of class haven't gotten yet in the best Heinleinan mouthpiece fashion) you get bit of a sense of the stakes at play here. But with so many elements competing to be The Most Important Thing (evil corporations! robots! race riots! drugs! corrupt health system!) its a question of too many targets and not enough bullets, so to speak.

His style almost redeems all of this though, and gives the work an impression that to make functions as high praise: if you lived here, it would all make sense. The fast clipping snark underlying a savage sense of impending doom colors nearly every page but never gives way to sheer desperation the way a lazy writer might. Unlike for us, who can exit the book at any time it becomes too stifling, there's no real way out for the people inside. But when its your home, you don't go looking for an escape, not when the real bravery is to look for ways to make it better.
sergant
Perhaps one of the most important traits of science fiction is its ability to be prescient—the ability to be able to see trends in present day society and extrapolate them into plausible scenarios taking place in future societies or on alien worlds. What separates good science fiction from bad is this ability, for a good story can transcend the period from which it was written and feel as relevant today as in yesteryear. Jagged Orbit is one of these books.

Written in the 1960s, it feels as if it could have been written last year due to its themes of how racial animosity, the paradox of conformity yet being rational, fear of others among a few others can actually destroy societal bonds and alienate people from one another. Told through the lens of several characters, the story begins with Matthew Flannen, who works as a spoolpigeon—a sort of mix between investigative reporter and TV pundit. He is considered one of the best there is at his job. He is also one of the last as his parents company, Holocosmic, has begun to put pressure on him to produce great content. Complicating this is the fact that the company is paying for his wife's mental treatment at the prestigious Ginsberg clinic ran by Dr. Mogshack, a therapist who is widely celebrated in this society for his pro-rational, anti-emotional, individualistic views. Not to mention strange interruptions of his VUcast( think holographic tv broadcast) has led him to believe that the company is conspiring against him and that his partner, his brother-in-law Lionel Prior is in cahoots with the company.

From this beginning, we are ushered into a strange version of American society. A society where:
• Due to racial animosity and riots of the 1960s and a refusal by the government to address these issues, African-Americans(referred to as Knees in the book) have separated themselves from the mainstream American society, creating enclaves to protect themselves from Blanks( white people).
• In general, people are suspicious of others that are different from them.
• Emotions are considered a nuisance at best. Love has become clinical and marriage a mere contract of convenience.
• Gottschalks, a familial cabal of gun and weapons manufacturers, exploit and acerbate the fear of the Other people have to sell their weapons.
• No longer having direction in their lives, people turn to modern day oracles known as pythoness for direction.

Among other things. Now I have not delved into the plot too deeply in part because the plot is more of a vehicle for the exploration of the society depicted in the book and in a way critique our own society. The plot itself is good although it does take awhile for it to coalesce. The author wants one to understand the background of the society and through comparison, critique our own society, making it more of a meditative treatise on the nature of society and how cynicism can degrade communal bonds between people. Due to this, the plot does often take a back seat to the treatise, and perhaps because of this, some would argue that the ending may feel a bit too tidy given the events that happen in the story. But that may be intentional for one of the characters, Xavier Conroy, mentions how society has pushed away their emotions and become lesser- less optimistic, less human- due to this. And thus having the ending be one where it works out somewhat validates the themes present in the story….

In any case, it was definitely a good read and one that I enjoyed immensely.
นℕĨĈტℝ₦
I cannot recall what I was reading at the time, but the gist of it was that Brunner wrote four challenging and experimental novels in the late 60s/early 70s. Of those four, I had read three and considered two of them to be among my top 20 of all time (Stand on Zanzibar and The Sheep Look Up; the other that I had read was The Shockwave Rider, which I like and which should be mandatory reading for cybergeeks, but I don't think if has the same impact of the other two). The fourth was this novel, The Jagged Orbit.
Of the four it is by far the weakest and suffers much by time. However, you can see in the characters of Matthew Flamen and Elias Mogshack the seeds of later ones, especially Chad C. Mulligan of Stand on Zanzibar. (I also sense a similarity with Norman Spinrad's Jack Barron, but I cannot recall who come first.) The stylistic changes from his earlier work, and that would make Stand on Zanzibar such a landmark work in SF, are present here mainly in the chapter titles and the structure of the beginning and end. While I hesitate to recommend this to anyone, it proved interesting to me.