Un texte de Masha Gessen A great work of art is also often not immediately recognizable. Five young women entered the enormous Cathedral of Christ the Savior early in the morning on February 21, 2012, took off their overcoats to expose differently colored dresses and neon-colored tights, pulled on similarly neon-colored balaclavas, climbed up on the soleas (having lost one of their number in the process—she had been grabbed by a security guard), and proceeded to dance, play air guitar, and sing a song they called a “punk prayer,” beseeching Mother of God to “get rid of Putin.”
An interview with Jonathan Coe (Expo 58)
Voir l'interview I didn’t want to make fun of the 1950’s too much but I always allow myself to have a certain amount of fun with the conventions of whatever period I’m writing about. I did it with the 1970’s in Bienvenue au club. The book is a kind of satire on naivety or a comic celebration of idealism, whichever way you want to look at it, specifically in relation to science and technology because this is what the Atomium, which was at the centre of the expo site, represents for me. It’s a bold statement of faith in the power of science and technology to save us, to make our lives better. Now of course fifty years later we know that it’s not as simple as that. Science is our enemy as much as it is our friend.
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