Difference between revisions of "The City, Not Long After"
From Clockworks2
Jump to navigationJump to search| Line 3: | Line 3: | ||
San Francisco, not long after a plague, has become an anarchic artists' utopia. In the course of the novel, the artists defend their community from military invaders with "an astonishing series of kinetic sculptures, elaborate toys, and works of performance art." Rev. Sandra J. Lindow, SF&FBR Annual 1990: 382-83, source for this citation, and quote. Lindow praises CNLA and recommends reading it with Lisa Goldstein's A Mask for the General (1988) and Richard Paul Russo's Subterranean Gallery (1989). | San Francisco, not long after a plague, has become an anarchic artists' utopia. In the course of the novel, the artists defend their community from military invaders with "an astonishing series of kinetic sculptures, elaborate toys, and works of performance art." Rev. Sandra J. Lindow, SF&FBR Annual 1990: 382-83, source for this citation, and quote. Lindow praises CNLA and recommends reading it with Lisa Goldstein's A Mask for the General (1988) and Richard Paul Russo's Subterranean Gallery (1989). | ||
| − | {{DEFAULTSORT:City | + | {{DEFAULTSORT:City, Not Long After}} |
Revision as of 21:14, 17 September 2020
Murphy, Pat. The City, Not Long After. New York: Doubleday Foundation, 1989.
San Francisco, not long after a plague, has become an anarchic artists' utopia. In the course of the novel, the artists defend their community from military invaders with "an astonishing series of kinetic sculptures, elaborate toys, and works of performance art." Rev. Sandra J. Lindow, SF&FBR Annual 1990: 382-83, source for this citation, and quote. Lindow praises CNLA and recommends reading it with Lisa Goldstein's A Mask for the General (1988) and Richard Paul Russo's Subterranean Gallery (1989).
