2050, Paris n'est plus qu'un torrent de violences, le terrain de jeu de fanatiques déchus. L'air n'est plus respirable. Les hologrammes ont remplacé les hommes. Le travail n'est plus que le privilège de quelques-uns. Sous l'hégémonie de Dame Consommation, il est devenu interdit de fabriquer et réparer.
Ce livre est un signal d'alerte. Il est futuriste sans être fantaisiste. Un livre terrifiant de vérités aux premières pages et saisissant d'espoir aux dernières. Un très beau roman d'anticipation, empli d'humanité. Un bel appel au vivre ensemble et au retour à l'autosuffisance.
Douglas Coupland was born on a Canadian NATO base in Germany and raised in Vancouver, where he still resides. Among his best-selling novels are Generation X, Microserfs and Eleanor Rigby, Coupland also exhibits his sculpture in galleries around the world, indulging in design experiments that include everything from launching collections of furniture to futurological consulting for Steven Spielberg. Claudia Gochmann is an art historian and writer based in Berlin. She is an expert on the work of Lee Friedlander and William Eggleston and has written for broadcast television and such publications as Photography Now. Sarah Milroy is the former editor and publisher of Canadian Art magazine and served as the art critic for the Globe and Mail from 2001 until 2010. She has also written lead essays for Gathie Falk (2000), Greg Curnoe : Life and Stuff (2001) and a forthcoming publication on the work of Jack Chambers. She lives in Toronto, Ontario. Jeff Wall, a key figure in Vancouver's art scene since the early 1970s, is best known for his large-scale back-lit cibachrome photographs and art-historical writing. He has published essays on Rodney Graham, Roy Arden, Ken Lum and other contemporary artists. He is an Officer of the Order of Canada and was awarded the Audain Prize for Lifetime Achievement in the visual arts.