- Capa dura: 768 páginas
- Editora: William Morrow (13 de junho de 2017)
- Idioma: Inglês
- ISBN-10: 0062409166
- ISBN-13: 978-0062409164
- Dimensões do produto: 15,2 x 4,9 x 22,9 cm
- Peso de envio: 1,1 Kg
- Avaliação média: 1 avaliação de cliente
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The Rise and Fall of D.O.D.O.: A Novel (Inglês) Capa dura – 13 jun 2017
|Prazo||Valor Mensal (R$)||Total (R$)|
|2x sem juros||R$ 53,66||R$ 107,32|
|3x sem juros||R$ 35,78||R$ 107,32|
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Sobre o Autor
Neal Stephenson is the author of Reamde, Anathem, and the three-volume historical epic the Baroque Cycle (Quicksilver, The Confusion, and The System of the World), as well as Cryptonomicon, The Diamond Age, Snow Crash, and Zodiac. He lives in Seattle, Washington.
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D.O.D.O. aqui não se refere ao pássaro extinto, embora a ave se torne o símbolo do Department Of Diachronic Operations, que é sob responsabilidade de Tristan Lyons, mas ele mantém tudo em segredo, revelando a seus colaborados somente o extremo necessário. Entre eles está Melisande Stokes, uma linguista especializada em diversos idiomas que irá traduzir documentos sobre mágica.
Não muito depois de começar o trabalho, ela recebe mensagens no seu Facebook, e, enfim, descobre-se uma trama secular que acabou de vez com a magia no mundo. O fim tem a ver com o avanço da tecnologia – especialmente a fotografia. As bruxas podiam acessar realidades alternativas que eram mantidas como diversos fios. Com um equipamento gigantesco, a D.O.D.O. é capaz de fazer pessoas viajarem no tempo – e ir parar em uma dessas realidades alternativas. A ideia dessas travessias é levantar dinheiro para o departamento. Melisande viaja ao passado, se apossa de um livro que é banal na época, mas valiosíssimo no século XXI, enterra-o, e quando volta ao presente, com ajuda dos colegas de trabalho, irá desenterra-lo e vender num leilão. Simples, mas nem tanto, pois as diversas realidades a obrigam a fazer várias viagens até que o plano dê certo.
E isso é apenas o começo do livro. Eles contam com a ajuda de uma bruxa que se manteve imortal graças aos seus feitiços, e quer restabelecer a magia no mundo. Outras bruxas de diversos momentos e lugares também entram em cena – algumas ficam mais tempo do que as outras – tudo para trazer a magia de volta e impedir uma conspiração envolvendo banqueiros que ameaçam a estabilidade temporal do mundo.
Stephenson e Galland lidam com tudo isso com humor e leveza, criando no romance uma colagem de documentos que vão desde de diários e cartas até relatórios da agência. O resultado é divertido, por umas 500 páginas, até que se tem a impressão de que tudo está se prolongando demais, e uma boa edição no texto faria do romance algo melhor. Os personagens são excelentes, e grande variedade deles ajuda a não tornar a trama enfadonha, por isso mesmo mereciam um destino melhor do que uma conclusão que não deixa de soar como um deus ex machina – o que é até surpreendente, dado o tamanho do livro.
Avaliações mais úteis de consumidores na Amazon.com
A nifty tale of SciFi and time travel and witchcraftery. What's not to love?
Plenty of fun and challenging journeys for our band of unlikely heroes. A plot (and various permutations thereof) that somehow combine just the right amounts of science, and fantasy to seem real. Also, among our likely heroes, are some very unlikely heroes as well. Who would have ever thought that a grad student with considerable knowledge of dead languages would become such a power player? Oh sure, her counterpart is all mil-spec, but their relationship is not. Happily, the entire affair is well sprinkled with humor, especially the acronyms that arise from any quasi-military, scientific bureaucracy!
So without giving too much of a spoiler here, the manner in which certain strands of the tale are woven, and warped and wefted keeps you turning the pages. If you start to get bogged down in parts where it seems it's all going to be just memos, and reports, just play along as it rebounds nicely!
Also, the authors did a fine job of researching the various histories of the various times and places re players have to contend with. The characters really are well dimensioned, and subtly nuanced. Except when they are not, ha!
And the ending is superbly well done. Besides, who doesn't love a Viking to really get things chopped up? Happy reading!
D.O.D.O. Is an exciting book about time travel, politics, war, technology and bureaucracy, peopled by a wide range of interesting well developed characters. It's full of surprises, poignant observations and creative ideas and keeps it's 'rush' even if not read in a single sitting - which is especially good since it's over 700 pages long!
If you're looking for a good book to immerse yourself in D.O.D.O. will not disappoint.
So, first 90% very good and Stephenson on his game...last 10% he lost me.
I'll be interested to read feedback from others
Dr Melisande Stokes, Harvard lecturer in ancient language, is writing a record for the future (dear reader) in London in 1851, where she is stuck, having been sent there from the twentieth-first-century. Stephenson/Galland's quantum theory explanation for what magic was and why it ceased to exist in 1850 is ingenious and quite charming. Intriguingly, it has a connection to an incident of importance in Brian Catling's The Vorrh. Melisande has been recruited by US Army officer, Tristan Lyons, to start-up the ancient languages department of an organisation that ultimately becomes "D.O.D.O", a 'shadowy government entity', whose purpose is to revitalise magic, to be practised by witches.
The full name for which "D.O.D.O' is an acronym is not explained for some time, and is just one of many such names which are thought-up to provide amusing or appropriate nicknames. The ridiculousness of bureaucracy is well-captured in the increasingly hysterical emails from D.O.D.O.'s HR department: "As you choose your costumes, please try to keep in mind everything our Diversity Policy has to say about stereotypes surrounding witches. Most of you who work here don't need to be told this, but every year it seems we have some children who show up in costumes that are offensive to certain members of our staff. Remember, the following costume elements are expressly forbidden:
Warts on nose
(Shades of a Yale 'witch hunt').
The D.O.D.O. boffins (your standard Japanese genius and a bunch of nerds) build a machine (an "ODEC") in which witches can practise magic, otherwise impossible in this time. How Melisande has ended-up in Victorian London, and how D.O.D.O. recruits a witch, will all be revealed, although there is no real suspense in either. Melisande's supposed linguistic ability is never properly illustrated - all conversations are given in English. There is the occasional mention of 'declensions', 'conversational Sumerian' or the plastering on of a foreign phrase, but that's it.
There is a theory that everything was different once, but we can't remember that, because our memories changed too. It's the idea behind Crowley's Aegypt cycle and Ursula le Guin's The Lathe of Heaven. [Redolent of lymphocytes also? - Ed.] A sign that there has been such a change is foreshadowed in the book, but disappointingly, that theme is never taken anywhere. The magic which is revitalised by D.O.D.O. is used for time travel which is utilised only to change the world in ways which the US financial-industrial complex would find helpful. The other, surely vast, uses of magic are virtually ignored. The spells are all conducted off-stage (in the sealed ODEC). Were Stephenson and Galland again not interested enough to fully develop this idea, or did they agree that they simply couldn't make magic spells sound convincing? Anyone who goes into an ODEC with a witch comes out the other side with convenient confusion and amnesia. Just how it is done is glossed-over by the witches themselves, who simply can't explain it to muggles when they ask. "'What an idiot question,'" I said. 'How does writing work? Can you tell me now it is I scratch thrice-ten marks on a piece of vellum and you can look at it and learn every piece of knowledge in the world?'"
For a book which needs a tight and complex plot, The Rise and Fall of D.O.D.O. is sloppy, as is D.O.D.O., the top-secret organisation itself. One would expect a 'shadowy government entity' dealing with metaphysical matters of the greatest profundity and importance to mankind, to think a bit about security; D.O.D.O.'s security is the type that a truck can be driven through (like the time travel plot). The officials of D.O.D.O are all astoundingly unobservant and stupid, whereas the visitors from other times and places, who could rightly be expected to be out of their depth, are wily and resourceful to a degree that over-stretches credulity. A family of financiers, the Fuggers, are suspiciously ubiquitous across time, but their involvement is ultimately wishy-washy and underdeveloped. The concept of an implosion of all things physics, occurring when time travellers change history too quickly, is here called 'diachronic shear', 'lomadh' or 'diakrónikus nyírías'. In John Wyndham's time it was called a "chronoclasm". Whatever it is called, it remains a get-out-of-gaol-free card for an embattled author and is used to this end by the authors of D.O.D.O. Sub-plots concerning the involvement of the Irish witch, Graínne, with a 17th century historical figure and her role as a spy for a never-seen correspondent, seem tacked on. The style of diary entries, letters and emails is lazy. Stephenson's readers are entitled to expect a more synthesised and complicated narrative along the lines of The Baroque Cycle.)
The novel is clearly written with screen rights in mind - the plot requires several characters to be nude frequently, although for once, sometimes it is men. While our feisty (but dull) heroine is not a beauty, her cheerful, arm-punching male co-worker is (although also dull), and the main witch, Erszebet (a very annoying character) is as well.
There are amusing moments. Melisande, writing with dip pen and ink, crossing out slang and profanities: [censored by Amazon] The Viking raid is worth its weight in plundered axes. There's a funny, developing google search list and a very funny Norse epic. If you haven't yet given up on Mr S, suspend disbelief, stop asking yourself "why?", "but wouldn't...?" and "that can't be so because....", and D.O.D.O. will entertain well enough.
The book ends on much the same note as does Seveneves - after a lot of confusing wrapping-up action and rushing about, a motley band of questing types from Central Casting sit around a table planning their next move - to be described in the sequel which we at TVC are unlikely to read. We want to go back to the time when Neal Stephenson wrote wittily and with depth and intricacy, for grownups. This'll make a ho-hum Netflix series.