ISBN: 978-0-571-22310-7
Внешнее покрытие издания: в обл.
Язык текста: англ.
Фамилия автора в заголовке: Garland
Инициалы автора (личного имени (имен)): A.
Код отношений (роль соавтора в издании): 070 Автор
Основное заглавие: The Coma
Первые сведения об ответственности: A. Garland
Место издания: London
Издатель: Faber and Faber
Дата издания: 2005
Другие уточнения физических характеристик: ill.
Высота, см.: 18
Определитель УДК: -3=021
Полная форма имени (имен) и отчества: Alex
Индекс УДК: 821.111
Статус записи (Тип информации): В наличии
Ширина, см: 11
Толщина, см: 1,5
Вес в граммах: 140
Артикул: 2151378

Each chapter in Alex Garland's wispy novella The Coma comes adorned with a woodblock illustration by Garland's father, a political cartoonist for London's Daily Telegraph. On the printed page, these striking cuts of black and white lack the definition and form of photographs or even drawings; instead, they register as dark Rorschach blotches, absorbing interpretation rather than dispensing it. Written in the ruthlessly pared-down language of a screenplay—which only seems natural, given Garland's script for 2002's post-apocalyptic zombie film 28 Days Later—The Coma, like the illustrations, relies heavily on the imagination to fill those blotches with color and light. How much readers get out of Garland's murky head-trip depends on how much they put into it, though the book's deficiencies shouldn't be entirely excused by its minimalism. The early section shows off Garland's skill at conjuring paranoia and dread without wasting a lot of space: Judging by his breakthrough The Beach, 28 Days Later, and this novella, he's far more comfortable with setups than payoffs. While taking the late train on London's subway system, a man named Carl tries to stop four teenage thugs from harassing a young woman, but they turn on him instead, battering him into unconsciousness. Shortly after waking in a hospital bed, Carl gets released to his lonely apartment, but his new reality seems fractured and false, and blood seeps through the bandages covering his head wound. He goes to a friend's house for help, but doesn't quite understand how he got there, nor does he fathom how his former nurse, posing as a cabbie, shuttles him to a special ward. Soon enough, he comes to the conclusion that he may still be in a coma, which poses a metaphysical dilemma: How does he go about waking himself up?

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