{"id":423,"date":"2019-07-18T12:18:20","date_gmt":"2019-07-18T10:18:20","guid":{"rendered":"https:\/\/sfanglo21.noosfere.org\/?page_id=423"},"modified":"2019-11-05T15:25:08","modified_gmt":"2019-11-05T14:25:08","slug":"tony-ballantyne","status":"publish","type":"page","link":"https:\/\/sfanglo21.noosfere.org\/?page_id=423","title":{"rendered":"Tony Ballantyne"},"content":{"rendered":"<p>\t\t\t\t\t\t<style>\r\n\t\t\t\t\r\n\t\t\t\t\t#tab_container_422 {\r\n\toverflow:hidden;\r\n\tdisplay:block;\r\n\twidth:100%;\r\n\tborder:0px solid #ddd;\r\n\tmargin-bottom:30px;\r\n\t}\r\n\r\n#tab_container_422 .tab-content{\r\n\tpadding:20px;\r\n\tborder: 1px solid #dddeca !important;\r\n\tmargin-top: 0px;\r\n\tbackground-color:#f6f7e3 !important;\r\n\tcolor: #000000 !important;\r\n\tfont-size:14px !important;\r\n\tfont-family: Verdana !important;\r\n\t\r\n\t\tborder: 1px solid #dddeca !important;\r\n\t}\r\n#tab_container_422 .wpsm_nav-tabs {\r\n    border-bottom: 0px solid #ddd;\r\n}\r\n#tab_container_422 .wpsm_nav-tabs > li.active > a, #tab_container_422 .wpsm_nav-tabs > li.active > a:hover, #tab_container_422 .wpsm_nav-tabs > li.active > a:focus {\r\n\tcolor: #1e73be !important;\r\n\tcursor: default;\r\n\tbackground-color: #ffffff !important;\r\n\tborder: 1px solid #e6e6e6 !important;\r\n}\r\n\r\n#tab_container_422 .wpsm_nav-tabs > li > a {\r\n    margin-right: 0px !important; \r\n    line-height: 1.42857143 !important;\r\n    border: 1px solid #ececec !important;\r\n    border-radius: 0px 0px 0 0 !important; \r\n\tbackground-color: #ffffff !important;\r\n\tcolor: #5e9ca0 !important;\r\n\tpadding: 15px 18px 15px 18px !important;\r\n\ttext-decoration: none !important;\r\n\tfont-size: 14px !important;\r\n\ttext-align:center !important;\r\n\tfont-family: Verdana !important;\r\n}\r\n#tab_container_422 .wpsm_nav-tabs > li > a:focus {\r\noutline: 0px !important;\r\n}\r\n\r\n#tab_container_422 .wpsm_nav-tabs > li > a:before {\r\n\tdisplay:none !important;\r\n}\r\n#tab_container_422 .wpsm_nav-tabs > li > a:after {\r\n\tdisplay:none !important ;\r\n}\r\n#tab_container_422 .wpsm_nav-tabs > li{\r\npadding:0px !important ;\r\nmargin:0px;\r\n}\r\n\r\n#tab_container_422 .wpsm_nav-tabs > li > a:hover , #tab_container_422 .wpsm_nav-tabs > li > a:focus {\r\n    color: #5e9ca0 !important;\r\n    background-color: #ffffff !important;\r\n\tborder: 1px solid #ececec !important;\r\n\t\r\n}\r\n#tab_container_422 .wpsm_nav-tabs > li > a .fa{\r\n\r\nmargin-right:5px !important;\r\n\r\nmargin-left:5px !important;\r\n\r\n\r\n}\r\n\r\n\t\t#tab_container_422 .wpsm_nav-tabs a{\r\n\t\t\tbackground-image: none;\r\n\t\t\tbackground-position: 0 0;\r\n\t\t\tbackground-repeat: repeat-x;\r\n\t\t}\r\n\t\t\t\r\n\r\n\r\n#tab_container_422 .wpsm_nav-tabs > li {\r\n    float: left;\r\n    margin-bottom: -1px !important;\r\n\tmargin-right:0px !important; \r\n}\r\n\r\n\r\n#tab_container_422 .tab-content{\r\noverflow:hidden !important;\r\n}\r\n\r\n\r\n@media (min-width: 769px) {\r\n\r\n\t#tab_container_422 .wpsm_nav-tabs > li{\r\n\t\tfloat:left !important ;\r\n\t\t\t\tmargin-right:-1px !important;\r\n\t\t\t\t\t}\r\n\t#tab_container_422 .wpsm_nav-tabs{\r\n\t\tfloat:none !important;\r\n\t\tmargin:0px !important;\r\n\t}\r\n\r\n\t#tab_container_422 .wpsm_nav-tabs > li {\r\n\t\t\t\t\r\n\t}\r\n\t#tab_container_422 .wpsm_nav{\r\n\t\t\t\tmargin-bottom: 8px !important;\r\n\t\t\t}\r\n\r\n}\r\n\r\n\r\n\r\n@media (max-width: 768px) {\r\n\t#tab_container_422 .wpsm_nav-tabs > li {\r\n\t\t\t\t\r\n\t}\r\n\t#tab_container_422 .wpsm_nav{\r\n\t\t\t\tmargin-bottom: 8px !important;\r\n\t\tmargin-right:0px !important;\r\n\t\tmargin-left:0px !important;\r\n\t\t\t}\r\n}\r\n\r\n\r\n\t.wpsm_nav-tabs li:before{\r\n\t\tdisplay:none !important;\r\n\t}\r\n\r\n\t@media (max-width: 768px) {\r\n\t\t\t\t\r\n\t\t\t\t.wpsm_nav-tabs{\r\n\t\t\tmargin-left:0px !important;\r\n\t\t\tmargin-right:0px !important; \r\n\t\t\t\r\n\t\t}\r\n\t\t\t\t#tab_container_422 .wpsm_nav-tabs > li{\r\n\t\t\tfloat:none !important;\r\n\t\t}\r\n\t\t\t\r\n\t}\t\t\t\t<\/style>\r\n\t\t\t\t<div id=\"tab_container_422\" >\r\n\t \r\n\t\t\t\t\t<ul class=\"wpsm_nav wpsm_nav-tabs\" role=\"tablist\" id=\"myTab_422\">\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t<li role=\"presentation\"  class=\"active\"  onclick=\"do_resize()\">\r\n\t\t\t\t\t\t\t\t<a href=\"#tabs_desc_422_1\" aria-controls=\"tabs_desc_422_1\" role=\"tab\" data-toggle=\"tab\">\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t<span>Biographie<\/span>\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t<\/a>\r\n\t\t\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t<li role=\"presentation\"  onclick=\"do_resize()\">\r\n\t\t\t\t\t\t\t\t<a href=\"#tabs_desc_422_2\" aria-controls=\"tabs_desc_422_2\" role=\"tab\" data-toggle=\"tab\">\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t<span>Univers<\/span>\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t<\/a>\r\n\t\t\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t<li role=\"presentation\"  onclick=\"do_resize()\">\r\n\t\t\t\t\t\t\t\t<a href=\"#tabs_desc_422_3\" aria-controls=\"tabs_desc_422_3\" role=\"tab\" data-toggle=\"tab\">\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t<span>Romans<\/span>\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t<\/a>\r\n\t\t\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t<li role=\"presentation\"  onclick=\"do_resize()\">\r\n\t\t\t\t\t\t\t\t<a href=\"#tabs_desc_422_4\" aria-controls=\"tabs_desc_422_4\" role=\"tab\" data-toggle=\"tab\">\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t<span>Recueils<\/span>\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t<\/a>\r\n\t\t\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t<li role=\"presentation\"  onclick=\"do_resize()\">\r\n\t\t\t\t\t\t\t\t<a href=\"#tabs_desc_422_5\" aria-controls=\"tabs_desc_422_5\" role=\"tab\" data-toggle=\"tab\">\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t<span>Chapbooks<\/span>\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t<\/a>\r\n\t\t\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t<li role=\"presentation\"  onclick=\"do_resize()\">\r\n\t\t\t\t\t\t\t\t<a href=\"#tabs_desc_422_6\" aria-controls=\"tabs_desc_422_6\" role=\"tab\" data-toggle=\"tab\">\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t<span>R\u00e9cits<\/span>\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t<\/a>\r\n\t\t\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t<li role=\"presentation\"  onclick=\"do_resize()\">\r\n\t\t\t\t\t\t\t\t<a href=\"#tabs_desc_422_7\" aria-controls=\"tabs_desc_422_7\" role=\"tab\" data-toggle=\"tab\">\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t<span>Anthologies<\/span>\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t<\/a>\r\n\t\t\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t<li role=\"presentation\"  onclick=\"do_resize()\">\r\n\t\t\t\t\t\t\t\t<a href=\"#tabs_desc_422_8\" aria-controls=\"tabs_desc_422_8\" role=\"tab\" data-toggle=\"tab\">\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t<span>Essais<\/span>\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t<\/a>\r\n\t\t\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t<li role=\"presentation\"  onclick=\"do_resize()\">\r\n\t\t\t\t\t\t\t\t<a href=\"#tabs_desc_422_9\" aria-controls=\"tabs_desc_422_9\" role=\"tab\" data-toggle=\"tab\">\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t<span>Liens<\/span>\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t<\/a>\r\n\t\t\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\t\t\t\t <\/ul>\r\n\r\n\t\t\t\t\t  <!-- Tab panes -->\r\n\t\t\t\t\t  <div class=\"tab-content\" id=\"tab-content_422\">\r\n\t\t\t\t\t\t\t\t\t\t\t\t <div role=\"tabpanel\" class=\"tab-pane  in active \" id=\"tabs_desc_422_1\">\r\n\t\t\t\t\t\t\t\t<div>\r\n<p style=\"text-align : center;font-weight: bold;font-family: Arial, Helvetica, Verdana, sans-serif;font-size: 1.5em\">\r\nBIOGRAPHIE\r\n<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nTony Ballantyne est n\u00e9 en 1972 dans le comt\u00e9 de \r\nDurham (nord-est de l\u2019Angleterre), o\u00f9 il grandit.<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nIl \u00e9tudie les math\u00e9matiques \u00e0 l\u2019Universit\u00e9 de \r\nManchester puis d\u00e9m\u00e9nage \u00e0 Londres o\u00f9 il enseigne \r\nles math\u00e9matiques et l\u2019informatique.<\/p> \r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nIl vit maintenant avec sa femme et ses deux\r\nenfants \u00e0 Oldham o\u00f9 il travaille comme proviseur adjoint et\r\nprofesseur d\u2019informatique. Il occupe son temps libre \u00e0 jouer du\r\npiano, de l\u2019accord\u00e9on et du cornet \u00e0 pistons, quand il ne fait\r\npas des balades \u00e0 pied ou \u00e0 v\u00e9lo.<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nSon premier texte publi\u00e9 est <i>The Sixth VNM<\/i> qui sort \r\nen d\u00e9cembre 1998, dans le num\u00e9ro 138 d\u2019<i>Interzone<\/i>, \r\nrevue dans laquelle apparaissent un grand nombre de \r\nses textes suivants.<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nIl se fait surtout conna\u00eetre pour sa trilogie <i>Recursion<\/i> \r\npubli\u00e9e entre 2004 et 2007. Il ne se limite pas \u00e0 la \r\nscience-fiction et \u00e9crit \u00e9galement des \u0153uvres satiriques \r\npour des magazines comme <i>The Private Eye<\/i>, ou la s\u00e9rie \r\n<i>Cosmopolitan Predators<\/i> pour <i>Athernet Magazine<\/i>, \r\nune revue web de feuilletons qu\u2019il lance en 2013 avec sa femme.<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nPour Rich Horton, \"<i>From the beginning he was a notable \r\npractitioner of intellectually intriguing hard SF<\/i>\" \r\n(<i>Locus<\/i>, Septembre 2014)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nSource principale : <a href=\"http:\/\/www.tonyballantyne.com\/\">site\r\npersonnel de Tony Ballantyne<\/a> (consult\u00e9 en septembre 2019)\r\n<\/p>\r\n<\/div>\t\t\t\t\t\t <\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t <div role=\"tabpanel\" class=\"tab-pane \" id=\"tabs_desc_422_2\">\r\n\t\t\t\t\t\t\t\t<div>\r\n<p style=\"text-align : center;font-weight: bold;font-family: Arial, Helvetica, Verdana, sans-serif;font-size: 1.5em\">\r\nUNIVERS\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n- <b>Recursion<\/b> (SF)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nUne guerre entre intelligences\r\nartificielles se d\u00e9roule \u00e0 l\u2019\u00e9chelle de la galaxie au cours de\r\ncinq si\u00e8cles \u00e0 partir de la fin du XXIe si\u00e8cle. Les \u00eatres de\r\nchair et de sang comme l\u2019homo sapiens n\u2019y jouent souvent qu\u2019un\r\nr\u00f4le d\u00e9risoire. Quand une partie de la r\u00e9alit\u00e9 se d\u00e9sint\u00e8gre\r\nsans espoir de retour, des machines Von Neumann la remplacent par\r\nd\u2019autres  niveaux de r\u00e9alit\u00e9. (d\u2019apr\u00e8s <i>Encyclopedia of\r\nScience Fiction<\/i> et le site de Tony Ballantyne).<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nR\u00e9cits situ\u00e9s dans cet univers (par ordre de publication) : <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>The Sixth VNM<\/i> (1998, nouvelle) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Restoring the Balance<\/i> (2001, nouvelle) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Restoring the Balance, 2<\/i> (2001, nouvelle) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Recursion<\/i> (2004, roman) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Capacity<\/i> (2005, roman) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Divergence<\/i> (2007, roman) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Seeds<\/i> (2009, novelette) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n-<i> LDA ADD STA JMP JIZ END<\/i> (2012, nouvelle) \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n- <b>Penrose<\/b> (SF)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nLes protagonistes sont des robots autonomes\r\nqui occupent la plan\u00e8te Penrose, sans prendre tout d\u2019abord\r\nconscience de l\u2019existence de cr\u00e9atures de chair au sein de\r\nl\u2019univers. (d\u2019apr\u00e8s <i>Encyclopedia of Science Fiction<\/i>)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nR\u00e9cits situ\u00e9s dans cet univers (par ordre de publication) : <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Twisted Metal<\/i> (2009, roman) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Blood and Iron<\/i> (2010, roman) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Four Blind Horses<\/i> (2012, nouvelle) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Isabel and the Outlandish Robots<\/i> (2012, nouvelle) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Janet Verdigris<\/i> (2012, nouvelle) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>The Robot Behind Me<\/i> (2012, nouvelle) \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n- <b>Dream<\/b> (weird urban fantasy)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nDans chacun des deux romans de cette s\u00e9rie,\r\nla Ville elle-m\u00eame est le protagoniste central avec des humains\r\ntransform\u00e9s de mani\u00e8res diverses, parfois dans un futur proche\r\nfantasm\u00e9.<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nR\u00e9cits situ\u00e9s dans cet univers (par ordre de publication) : <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Dream London<\/i> (2013, roman) <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n- <i>Dream Paris<\/i> (2015, roman) \r\n<\/p>\r\n<\/div>\t\t\t\t\t\t <\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t <div role=\"tabpanel\" class=\"tab-pane \" id=\"tabs_desc_422_3\">\r\n\t\t\t\t\t\t\t\t<div>\r\n<p style=\"text-align : center;font-weight: bold;font-family: Arial, Helvetica, Verdana, sans-serif;font-size: 1.5em\">\r\nROMANS\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nR.01 <b>Recursion<\/b> (univers <i>Recursion<\/i>),\r\n<i>Tor \/ Pan Macmillan UK<\/i>, juillet 2004<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>It\r\nis the twenty-third century. Herb, a young entrepreneur, returns to\r\nthe isolated planet on which he has illegally been trying to build a\r\ncity\u2013and finds it destroyed by a swarming nightmare of\r\nself-replicating machinery. Worse, the all-seeing Environment Agency\r\nhas been watching him the entire time. His punishment? A nearly\r\nhopeless battle in the farthest reaches of the universe against enemy\r\nmachines twice as fast, and twice as deadly, as his own\u2013in the\r\ncompany of a disarmingly confident AI who may not be exactly what he\r\nclaims\u2026<\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Little does Herb know that this war of machines was set\r\n in motion nearly two hundred years ago\u2013by mankind itself. \r\n For it was then that a not-quite-chance encounter brought a\r\nconfused young girl and a nearly omnipotent AI together in one\r\nfateful moment that may have changed the course of humanity \r\nforever.<\/i>\" (4e de couverture)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">  \r\n<a href=\"https:\/\/en.wikipedia.org\/wiki\/Recursion_%28novel%29\">\r\nPage Wikipedia<\/a><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n* Prix Philip K. Dick 2007 : finaliste\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nR.02 <b>Capacity<\/b> (univers <i>Recursion<\/i>),\r\n<i>Tor \/ Pan Macmillan UK<\/i>, novembre 2005<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>Welcome to the year 2252\u2014and congratulations! \r\nYou\u2019re  now a personality construct. We know that can \r\nbe a daunting stage of personal development, especially \r\nif you don\u2019t remember making this life-changing \r\ndecision. But we\u2019re here to help\u2026.<\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Helen is waking to a dark new reality\u2014one that \r\nshe\u2019s certain she didn\u2019t choose. In this borrowed \r\nexistence, she finds an unexpected guide in Judy, a\r\ngeisha-faced virgin who\u2019s on a mission of her own. Together, the\r\ntwo of them begin a dangerous run through dozens of imagined worlds\r\nin an attempt to trap a psychopath haunting the shadowed areas of\r\nvirtual space\u2014a killer who brutally murdered an earlier version of\r\nHelen and who plans to kill again. Meanwhile, Justinian is\r\ninvestigating a peculiar rash of AI suicides on far-off planets\u2014and\r\nfinds that not only is there more to these \u201cdeaths\u201d than he\r\nthought, but that they may be linked to his wife Anya\u2019s mysterious\r\ncoma.<\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>In a future where AIs have taken over human life \r\nand the Environment Agency runs everything for our own \r\ngood, the fact that we can live on after physical death \r\nas sentient digital beings should have been a good thing. \r\nInstead, as Helen and Justinian are about to discover, it \r\njust means there are more ways to die.<\/i>\" (4e de couverture)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nR.03 <b>Divergence<\/b> (univers <i>Recursion<\/i>),\r\n<i>Bantam Books<\/i>, mai 2007<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>After a tumultuous beginning, mid-23rd-century Earth now \r\npeacefully operates under the constant surveillance of the Watcher, \r\nan all-seeing AI who has seized control of the planet\u2014and of the \r\nminds and bodies of its people. But is the radical evolution that the\r\nWatcher has in mind a step forward or the beginning of a mighty split\r\nthat will cast aside everything that truly makes us human?<\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>It is 2252, and Judy is traveling on a passenger ship \r\nin deep space when disaster strikes. Almost too conveniently, \r\nstrange machines appear onboard just in time to help. They \r\nare owned by DIANA, a commercial organization headquartered on\r\nEarth. But as the machines arrange for the humans to be taken to\r\nsafety, Judy is held back. They have detected something in her\r\ngenetic code\u2014something shocking: Judy is not human. And she too is\r\nthe property of DIANA.<\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Now Judy must return to Earth to find out what DIANA \r\nexpects of her\u2026how she was grown\u2026and why she was destined \r\nto destroy the Watcher. But is this Judy even the same\r\nperson? And does the new Judy have a reason to destroy\u2014or is she\r\njust a pawn in someone else\u2019s murderous game?<\/i>\"\r\n(4e de couverture)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nR.04 <b>Twisted Metal<\/b> (univers <i>Penrose<\/i>),\r\n<i>Tor \/ Pan Macmillan UK<\/i>, mai 2009<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>On a world of intelligent robots who seem to have forgotten \r\ntheir own distant past, ailment it is a time of war as the soldiers \r\nof Artemis City set out to conquer everything within range on the \r\ncontinent of Shull, killing or converting every robot they capture \r\nto their philosophy, while viewing their own wire-based minds as \r\nnothing but metal to be used or recycled for the cause.<\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Elsewhere, the more individualistic robots of Turing City \r\nbelieve they are something more than metal, but when the \r\nArtemisian robot Kavan sets out on a determined crusade to\r\nprove himself, even Turing City can\u2019t stand against him.<\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Increasingly tied up with Kavan\u2019s destiny is Karel, \r\na Turing robot with elements of Artemis\u2019 philosophy \r\nalready woven into his mind \u2026as well as Karel\u2019s wife\r\nSusan, and their recently created child. Following the inevitable\r\nviolence and destruction, Artemisian ambition focuses elsewhere and a\r\njourney begins towards the frozen kingdoms of the north \u2026and\r\ntowards the truth about the legendary \u201cBook of Robots\u201d, a text\r\nwhich may finally explain the real history of this strange world.<\/i>\"\r\n(4e de couverture)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nR.05 <b>Blood and Iron<\/b> (univers <i>Penrose<\/i>),\r\n<i>Tor \/ Pan Macmillan UK<\/i>, juin 2010<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>Appointed Commander of the Emperor\u2019s Army of Sangrel, \r\nWa-Ka-Mo-Do of Ko tries to establish relations between the \r\nexisting robot population and the humans who have recently \r\narrived on Yukawa. On the continent of Shull, Kavan forms \r\nthe Uncertain Army and is marching to Artemis City. Upon \r\ndiscovery that the city's generals have made an alliance\r\nwith the humans, he retreats to Stark where he plans the eventual\r\noverthrow of Artemis and the humans. Meanwhile, Karel is heading\r\nSouth, hoping to be reunited with Susan, his wife. As he walks, he\r\nhears more of the stories of the robots, and begins to understand\r\nsomething about his place on the world of Penrose. But with limited\r\nresources and tensions growing between robot and human it's only a\r\nmatter of time before problems arise. And it's becoming more and more\r\napparent that the humans are a lot more powerful than the robots\r\nfirst expected.<\/i>\" (4e de couverture)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nR.06 <b>Dream London<\/b> (univers <i>Dream<\/i>),\r\n<i>Solaris<\/i>, octobre 2013<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>In Dream London the city changes a little every night and the \r\npeople change a little every day. Captain Jim Wedderburn has looks, \r\nstyle and courage by the bucketful. He\u2019s adored by women, respected \r\nby men and feared by his enemies. He\u2019s the man to find out who has\r\ntwisted London into this strange new world, and he knows it. But the\r\ntowers are growing taller, the parks have hidden themselves away and\r\nthe streets form themselves into strange new patterns. There are\r\npeople sailing in from new lands down the river, new criminals\r\nemerging in the East End and a path spiralling down to another world.\r\nEveryone is changing, no one is who they seem to be, and Captain Jim\r\nWedderburn is beginning to understand that he\u2019s not the man he\r\nthought he was...<\/i>\" (4e de couverture)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nR.07 <b>Dream Paris<\/b> (univers <i>Dream<\/i>),\r\n<i>Solaris<\/i>, ao\u00fbt 2015<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>Anna Sinfield marched into the parks, when Angel Tower \r\nburned and Dream London fell. She marched to free the city, \r\nto end the madness, to find her mother and father. The day \r\nwas won, but her parents--and thousands like them--are \r\nstill missing, lost to the Dream World.<\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>And now she has a chance to get them back. A man \r\nwith gemlike eyes has walked into her life, wearing a\r\nbespoke suit and bearing a terrible scroll. Mr Twelvetrees claims to\r\nknow where the missing Londoners are; but to find them, Anna has to\r\ngive up a life she's started to rebuild and go into the Dream World\r\nitself. Into another Paris, where history has been repeating itself\r\nfor two hundred years.<\/i>\" (4e de couverture)\r\n<\/p>\r\n<\/div>\t\t\t\t\t\t <\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t <div role=\"tabpanel\" class=\"tab-pane \" id=\"tabs_desc_422_4\">\r\n\t\t\t\t\t\t\t\t<div>\r\n<p style=\"text-align : center;font-weight: bold;font-family: Arial, Helvetica, Verdana, sans-serif;font-size: 1.5em\">\r\nRECUEILS DE NOUVELLES\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2012 <b>Stories from the Northern Road<\/b>, \r\n<i>NewCon Press<\/i>, septembre 2012<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nContient : Introduction ; Four Blind Horses ; Isabel and \r\nthe Outlandish Robots ; Janet Verdigris ; \r\nLDA ADD STA JMP JIZ END ; Restoring the Balance 1 ; \r\nRestoring the Balance 2 ; Seeds ; The Robot Behind \r\nMe ; The Sixth VNM .\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2020 <b>Midway<\/b>, <i>Infinity Plus<\/i>, septembre 2020 <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nContient : Granma 1 ; The Cold Equations ;\r\nGranma 2 ; The Platitudes ; Granma 3 ; Excerpts from Another Life ;\r\nGranma 4 ; A Pigeon in the Arndale Centre ; Granma 5 ; Light on Her\r\nFeet ; Granma 6 ; Return to Dream London ; Granma 7 ; The End ; The\r\nCold Equations 2 ; Granma 8 ; Midway.<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nLe recueil entrem\u00eale le r\u00e9cit de l'acceptation par le narrateur, \r\navec l'aide de sa grand-m\u00e8re d\u00e9c\u00e9d\u00e9e, de la fin de vie de son p\u00e8re \r\net des textes de fiction, dont deux (Excerpts from Another \r\nLife ;  Midway) ont \u00e9t\u00e9 publi\u00e9s pr\u00e9c\u00e9demment. \r\n<\/p>\r\n<\/div>\t\t\t\t\t\t <\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t <div role=\"tabpanel\" class=\"tab-pane \" id=\"tabs_desc_422_5\">\r\n\t\t\t\t\t\t\t\t<div>\r\n<p style=\"text-align : center;font-weight: bold;font-family: Arial, Helvetica, Verdana, sans-serif;font-size: 1.5em\">\r\nCHAPBOOKS\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2015 <b>Tower of Blood<\/b> (univers <i>Warhammer\r\n40,000<\/i>), <i>Black Library<\/i>, ao\u00fbt 2015<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nPr\u00e9c\u00e9demment publi\u00e9 dans l\u2019anthologie <i>The Best of Hammer \r\nand Bolter: Volume One<\/i>, ed. Christian Dunn, juin 2012 \r\n<\/p>\r\n<\/div>\t\t\t\t\t\t <\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t <div role=\"tabpanel\" class=\"tab-pane \" id=\"tabs_desc_422_6\">\r\n\t\t\t\t\t\t\t\t<div>\r\n<p style=\"text-align : center;font-weight: bold;font-family: Arial, Helvetica, Verdana, sans-serif;font-size: 1.5em\">\r\nS\u00c9LECTION DE R\u00c9CITS\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n1998 <b>The Sixth VNM<\/b> (nouvelle, univers\r\n<i>Recursion<\/i>), <i>Interzone<\/i> #138, d\u00e9cembre 1998<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>[...] James Clark, crashlands on what becomes \r\nClarkworld [...], where he becomes the victim \r\n(it seems) of an array of Von Neumann Machines \r\nbent on conquering the universe.<\/i>\"\r\n(<i>Encyclopedia of Science Fiction<\/i>)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans le recueil <i>Stories from \r\nthe Northern Road<\/i>, septembre 2012 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n1999 <b>Gorillagram<\/b> (nouvelle), \r\n<i>Interzone<\/i> #139, janvier 1999<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/archive.org\/details\/Interzone_139_1999-01\">\r\nLien Internet<\/a> (ensemble du magazine, consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">*\r\nPrix BSFA 1999 : nomination (meilleure nouvelle)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n1999 <b>Soldier.exe<\/b> (nouvelle), <i>Interzone<\/i>\r\n#144, juin 1999 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2000 <b>The Blue Magnolia<\/b> (nouvelle), <i>The\r\nThird Alternative<\/i> #22, 2000<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>The Mammoth Book of \r\nNew Comic Fantasy<\/i>, ed. Mike Ashley, juillet 2005 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2000 <b>Single-Minded<\/b> (nouvelle), <i>Interzone<\/i>\r\n#162, d\u00e9cembre 2000<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/archive.org\/details\/Interzone_162_2000-12\">\r\nLien Internet<\/a> (ensemble du magazine, consult\u00e9 en juillet 2019)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2001 <b>A New Beginning<\/b> (nouvelle), <i>Interzone<\/i>\r\n#163, janvier 2001<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"http:\/\/bestsf.net\/tony-ballantyne-a-new-beginning\/\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>D\u00e8s l\u2019arriv\u00e9e de James, sa femme Julia devine \r\nqu\u2019il a attrap\u00e9 le Verre Bleu. \u00c0 la demande de Julia, \r\nil raconte comment l\u2019extraterrestre l\u2019a infect\u00e9, \r\npr\u00e8s de la mairie. James se sent d\u00e9licieusement bien et\r\ns\u2019en veut d\u2019avoir reproch\u00e9 \u00e0 sa femme de s\u2019\u00eatre laiss\u00e9e\r\ninfecter. Julia le tranquillise et  pr\u00e9cise qu\u2019il y a encore\r\nquantit\u00e9 de maladies \u00e0 attraper, plus de cent cinquante selon son\r\nami Barnaby.<\/i> (P.C.)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2001 <b>Restoring the Balance<\/b> (nouvelle,\r\nunivers <i>Recursion<\/i>), <i>Interzone<\/i> #167 &amp; 168, mai &amp;\r\njuin  2001<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>Companion stories about a future war on drugs, \r\nwhen the drugs are free and create the effect of \r\nphantom personalities; government hypocrisy vies\r\nwith humanity's relationship with mother Earth.<\/i>\"\r\n(MRK, <a href=\"https:\/\/locusmag.com\"><i>Locus<\/i><\/a>)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans le recueil <i>Stories from the Northern Road<\/i>,\r\nseptembre 2012<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n* Prix Locus 2002 : pr\u00e9s\u00e9lection (meilleure nouvelle)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2001 <b>Indecisive Weapons<\/b> (nouvelle),\r\n<i>Interzone<\/i> #172, octobre 2001 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2001 <b>Real Man<\/b> (nouvelle), <i>Interzone<\/i>\r\n#174, d\u00e9cembre 2001 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2001 <b>Worlds Apart<\/b> (), site web\r\n<i>InfinityPlus<\/i>, 2001<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"http:\/\/www.infinityplus.co.uk\/stories\/worldsapart.htm\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2002 <b>Teaching the War Robot to Dance<\/b>\r\n(nouvelle), <i>Interzone<\/i> #178, avril 2002<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/archive.org\/details\/Interzone_178_2002-04\">\r\nLien Internet<\/a> (ensemble du magazine, consult\u00e9 en juillet 2019)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2003 <b>The Waters Of Meribah<\/b> (nouvelle, SF),\r\n<i>Interzone<\/i> #189, mai-juin 2003<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nDepuis le Changement et l'Effondrement, \r\nl'univers des hommes s'est r\u00e9duit \u00e0\r\nune bulle de moins de 500 kilom\u00e8tres de diam\u00e8tre<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nLe docteur Flynn esp\u00e8re annuler les effets du Changement \r\nen faisant subir un traitement radical \u00e0 Buddy Joe, un \r\ncondamn\u00e9 pour viol. Jour apr\u00e8s jour, il le transformera \r\nen le faisant porter les diff\u00e9rents \u00e9lements d'une tenue \r\nsi \"alien\" qu'il devrait en perdre sa nature humaine.  Justement, \r\ndeux pieds sont pos\u00e9s sur la table, en attente d\u2019\u00eatre \r\nenfil\u00e9s. Ils sont gris-verts, palm\u00e9s et tr\u00e8s vivants. (P.C.)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nSur son site, Tony Ballantyne pr\u00e9cise \u00e0 propos de la \r\nsignification de ce r\u00e9cit : \"<i>Un th\u00e8me r\u00e9current de la\r\nscience-fiction est notre relations aux aliens. Dans mon histoire, je\r\nvoulais examiner ce qui nous est compl\u00e8tement \u00e9tranger (alien),\r\nquelque chose de si totalement \u00e9tranger que les humains ne\r\npourraient pas le comprendre. Quelque chose de si \u00e9tranger que pour\r\nle saisir, il faudrait cesser d'\u00eatre humain.<\/i>\"\r\n(trad. P.C.)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Year's Best SF 9<\/i>,\r\ned David G. Hatwell &amp; Kathryn Cramer, juin 2004<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Twenty-First Century \r\nScience Fiction<\/i>, ed David G. Hartwell &amp; \r\nPatrick Nielsen Hayden, novembre 2013 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2003 <b>The Ugly Truth<\/b> (nouvelle), <i>Interzone<\/i>\r\n#191, septembre 2003 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2005 <b>A Matter of Mathematics<\/b> (novelette),\r\nanthologie <i>The Mammoth Book of New Jules Verne Adventures<\/i>, ed.\r\nMike Ashley &amp; Eric Brown, mars 2005 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2005 <b>Star!<\/b> (nouvelle, SF), anthologie\r\n<i>Constellations: The Best of New British SF<\/i>, ed. Peter\r\nCrowther, janvier 2005 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2006 <b>The Exchange<\/b> (nouvelle, SF),\r\n<i>Postscripts<\/i>, \u00e9t\u00e9 2006<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\u201c<i>an odd little story about a program during an \r\n alternate World War II to allow German and English \r\n students to experiment life in the enemy country<\/i>\u201d \r\n (Rich Horton, <a href=\"https:\/\/locusmag.com\">\r\n <i>Locus<\/i><\/a>, novembre 2006) \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2007 <b>Aristotle OS<\/b> (nouvelle, SF),\r\nanthologie <i>Fast Forward 1: Future Fiction from the Cutting Edge<\/i>,\r\ned. Lou Anders, f\u00e9vrier 2007<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>Jon is a man who uses his computer to make a living writing \r\narticles and such. When his computer breaks down he calls his \r\nelectrician brother, Ken, to fix it for him. The problem is that \r\nKen is always trying to \u201cover fix\u201d things, so he installs a new \r\noperating system on Jon\u2019s computer. This OS isn\u2019t based on the \r\n\u201cshadows of reality \u201d that most current operating systems are \r\nbased on, it assumes that everything input is real. [...]<\/i>\"\r\n(<i>BestScienceFictionStories.com<\/i>,\r\njuin 2008)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Year's Best SF 13<\/i>,\r\ned David G. Hartwell\r\n&amp; Kathryn Cramer, juin 2008 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2007 <b>Third Person<\/b> (SF), anthologie <i>The\r\nSolaris Book of New Science Fiction<\/i>, ed. George Mann, f\u00e9vrier\r\n2007<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\u201c<i>[\u2026] describes a preposterous selective war waged across Spanish \r\nHoliday resorts by small combat groups while ordinary vacationers \r\ncarry on blithely as normal. Any such civilian of the right \r\nnationality, though, can be conscripted on the spot and fed \r\na neural cocktail inducing fatalistic heroism<\/i>\u201d\r\n(Nick Gevers, <a href=\"https:\/\/locusmag.com\"><i>Locus<\/i><\/a>,\r\nf\u00e9vrie r2007)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Year's Best SF 13<\/i>,\r\ned David G. Hartwell &amp; Kathryn Cramer, juin 2008 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2009 <b>Takeaway<\/b> (nouvelle), <i>Nature<\/i>,\r\n19 mars 2009<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/www.nature.com\/articles\/458376a\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>Stephanie is a girl who works for a Chinese takeout restaurant, \r\nand she is about to get a lesson in why it is important to learn \r\nother languages \u2013 rather than just let the computer translate them.<\/i>\"\r\n(<i>BestScienceFictionStories.com<\/i>,\r\nao\u00fbt 2010)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Microcosms<\/i>,\r\ned. Tony Ballantine &amp; Eric Brown, mars 2017 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2010 <b>The Cleverest Man in the World<\/b> (flash\r\nfiction, SF), <i>Nature<\/i>, 9 d\u00e9cembre 2010<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/www.nature.com\/articles\/468862a\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Pour 10 000 dollars, Clark Maxwell, l\u2019homme le plus intelligent \r\ndu monde, consacre dix secondes de son temps \u00e0 la r\u00e9solution des \r\nprobl\u00e8mes qu\u2019on lui soumet. Quelques exemples : Bob est en chute libre\r\ncar son parachute a l\u00e2ch\u00e9 ; que doit-il faire ? James\r\nvoudrait d\u00e9couvrir celui qui transmet des documents confidentiels de\r\nson entreprise \u00e0 des concurrents ; Lewis ne trouve pas de\r\npetite amie.<\/i> (P.C.)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Microcosms<\/i>,\r\ned. Tony Ballantine &amp; Eric Brown, mars 2017 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2011 <b>The War Artist<\/b> (nouvelle, SF),\r\nanthologie <i>Further Conflicts<\/i>, ed. Ian Whates, avril 2011<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>[...] We follow a war artist, using modern technology but still \r\ntrying to capture the emotion and the feeling rather than just an \r\nimage, as he is embedded in a crack team of troops being \u2018coptered \r\nin to protect the community from rioters.<\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Except that it\u2019s not quite as simple as that, and the hi-tech \r\nnature of the attack on the infrastructure of the country \r\n(Denial of Service) is a neat angle. [...]<\/i>\"\r\n(<i>bestsf.net<\/i>, juin 2011)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>The Mammoth Book of SF Wars<\/i>,\r\ned. Ian Watson &amp; Ian Whates, mai 2012<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Year's Best SF 17<\/i>,\r\ned David G. Hatwell &amp; Kathryn Cramer, mai 2012\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2012 <b>Tower of Blood<\/b> (nouvelle, univers\r\n<i>Warhammer 40,000<\/i>), anthologie <i>The Best of Hammer and\r\nBolter: Volume One<\/i>, ed. Christian Dunn, juin 2012<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\u00e9galement publi\u00e9 en chapbook en ao\u00fbt 2015\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2012 <b>If Only ...<\/b> (flash fiction, SF),\r\n<i>Nature<\/i>, 6 septembre 2012<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/www.nature.com\/articles\/489170a\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Le docteur James Ferriday re\u00e7oit Me Sacha Melham, accompagn\u00e9e \r\nde Willow et Gregory. Elle lui demande de lui garantir que \r\nl\u2019injection pr\u00e9vue ne fera pas de mal \u00e0 ses enfants. C\u2019est \r\nalors que l\u2019\u00e9cran du docteur clignote. Il annonce \u00e0 sa patiente \r\nqu\u2019elle a franchi le seuil et qu\u2019elle n\u2019a d\u00e9sormais plus droit \r\n\u00e0 la science \u00e0 cause du manque de consid\u00e9ration qu\u2019elle a \r\nmanifest\u00e9 \u00e0 l\u2019\u00e9gard des questions scientifiques.<\/i> (P.C.)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Year's Best SF 18<\/i>,\r\ned David G. Hartwell, d\u00e9cembre 2013<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Microcosms<\/i>,\r\ned. Tony Ballantine &amp; Eric Brown, mars 2017 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2012 <b>Four Blind Horses<\/b> (nouvelle, univers\r\n<i>Penrose<\/i>), recueil <i>Stories from the Northern Road<\/i>,\r\nseptembre 2012<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>John Bull arrive en ville, \u00e0 la t\u00eate de quatre chevaux \r\naveugles, et demande au forgeron Smith de s\u2019occuper de \r\nses montures qu\u2019il dit avoir fabriqu\u00e9es lui-m\u00eame. C\u2019est \r\nalors qu\u2019un de ses aides, Reynold, remarque que les \r\nchevaux sont aveugles et s\u2019en \u00e9tonne. John Bull propose \r\nde raconter leur histoire en guise de paiement car il \r\nn\u2019a pas d\u2019argent. Smith lui r\u00e9pond que le prix est \r\ninsuffisant et qu\u2019il se contentera de reprendre les \r\nsoudures de ses articulations et r\u00e9parer les n\u0153uds de \r\nson \u00e9lectromuscle pendant que Beth gardera ses chevaux. \r\nJohn Bull finit par accepter et tous les robots s\u2019assemblent \r\nautour de lui pour \u00e9couter son histoire.<\/i> (P.C.)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2013 <b>Rondo Code<\/b> (flash fiction, SF),\r\n<i>Nature<\/i>, 6 juin 2013<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/www.nature.com\/articles\/498132a\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Face au journaliste venu l\u2019interroger, Ada se souvient que, \r\nquand elle enseignait l\u2019informatique, les \u00e9l\u00e8ves avaient des \r\ndifficult\u00e9s non pas avec les instructions mais avec les boucles \r\net les branchements. L\u2019interview se d\u00e9roule quatre jours apr\u00e8s \r\nla grande d\u00e9connexion, et tout semble revenu \u00e0 la normale. Ada \r\nraconte que c\u2019est en entendant des enfants chanter une comptine \r\nqu\u2019elle a con\u00e7u ce qu\u2019elle appelle le code Rondo, une mani\u00e8re \r\nd\u2019enseigner qui s\u2019appuie sur la musique. Pour d\u00e9boguer un \r\nprogramme, il suffit maintenant de juger de sa musicalit\u00e9. \r\nMais Ada ne s\u2019est pas arr\u00eat\u00e9e l\u00e0.<\/i> (P.C.)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Microcosms<\/i>,\r\ned. Tony Ballantine &amp; Eric Brown, mars 2017 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2014 <b>The Region of Jennifer<\/b> (nouvelle,\r\nunivers <i>Recursion<\/i>), <i>Analog<\/i>, juin 2014 \r\n<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\u201c<i>C\u2019est la premi\u00e8re d\u2019une s\u00e9rie d\u2019histoires sur lesquelles\r\n j\u2019ai travaill\u00e9 et que j\u2019ai situ\u00e9es dans l\u2019univers R\u00e9cursion.\r\nL\u2019action se d\u00e9roule huit ans apr\u00e8s les \u00e9v\u00e9nements d\u00e9crits dans\r\nDivergence et traite de probl\u00e8mes soulev\u00e9s par la Grande\r\nR\u00e9partition qui a eu lieu \u00e0 la fin de Divergence.<\/i>\u201d\r\n(Tony Ballantyne, <a href=\"http:\/\/tonyballantyne.com\/the-region-of-jennifer\/\">\r\nsite personnel<\/a>, trad. P.C.)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>Jennifer is a pampered girl living an idyllic life in the \r\nmiddle of an estate that is maintained in beauteous perfection \r\nfor her and whose only responsibility to to bear perfect children. \r\nRandy is a homeless vagabond who lives in the twisted and polluted \r\nland away from Jennifer's manicured gardens, but its okay, he has \r\nbeen modified to be able to eat almost anything, heal from almost \r\nany injury, and is equipped with razor sharp teeth and nails to \r\ndefend himself with. Randy arrives in Jennifer's bedroom to whisk \r\nher away from herarranged pairing with a suitor who has paid for \r\nthe privilege of impregnating her, and she decides to go with him. \r\nThrough their journey, Randy attempts to persuade Jennifer that the \r\nSlavemakers - an alien group the former rulers of the planet had made \r\na deal with to save the populace from starvation - intend to enslave \r\nall of the humans on the planet, and have indeed enslaved Jennifer \r\nalready. In the end, Jennifer makes a choice that turns the story \r\non its head, but is also entirely unsurprising as well.<\/i>\"\r\n(<i>dreamingaboutotherworlds.blogspot.com<\/i>,\r\njuin 2015)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris en podcast par <i>StarShipSofa<\/i>\r\n#347, juillet 2014 ; \r\n<a href=\"http:\/\/www.starshipsofa.com\/blog\/2014\/07\/23\/starshipsofa-no-347-tony-ballantyne\/\">\r\nlien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n* Prix Analog 2014 : 4e place (meilleure nouvelle)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2014 <b>Double Blind<\/b> (nouvelle, SF),\r\nanthologie <i>Solaris Rising 3: The New Solaris Book of Science\r\nFiction<\/i>, ed. Ian Whates, ao\u00fbt 2014 \r\n<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\u201c<i>Takes a look at testing drugs on paid volunteers, \r\nwhere the pay is high, but so are the risks. And \r\nwhen the risks get even higher\u2026<\/i>\" \r\n(<i>bestsf.net<\/i>, d\u00e9cembre 2014)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2014 <b>Threshold<\/b> (novelette, univers\r\n<i>Recursion<\/i>), <i>Analog<\/i>, octobre 2014<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\" <i>[...] Eduardo Delgado is a guide on Lucky Planet\u2014or at\r\nleast, the four thousand square kilometers of jungle the S (a race of\r\n\u201csilicon based semiartificial life-form[s]\u201d) allow humans to live\r\nin. Taking a group of xenobiologists into the jungle to study the\r\nfloating hives of omnivorous insects there is just the start of his\r\ntroubles. Along the way Eduardo will discover not only what he\r\nbelieves is worth dying for, but just how much pain a man can endure\r\nin the service of that belief. More importantly\u2014how does a man\r\nreally know that what he dies for is the truth, and what is just what\r\nwe are ready to accept? [...]<\/i>\"\r\n(Clancy Weeks, <a href=\"https:\/\/www.tangentonline.com\/index.php\">\r\n<i>Tangent Online<\/i><\/a>, juillet 2014)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2014 <b>Dream London Hospital<\/b> (nouvelle),\r\nanthologie <i>Fearsome Magics<\/i>, ed. Jonathan Strahan, octobre 2014\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2016 <b>The Scooped Out Man<\/b> (flash fiction),\r\n<i>Daily Science Fiction<\/i>, juin 2016<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/dailysciencefiction.com\/science-fiction\/aliens\/tony-ballantyne\/the-scooped-out-man\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie <i>Microcosms<\/i>,\r\ned. Tony Ballantine &amp; Eric Brown, mars 2017 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2016 <b>Another (Almost) True Story<\/b> (flash\r\nfiction, slipstream), <i>Daily Science Fiction<\/i>, ao\u00fbt 2016<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/dailysciencefiction.com\/hither-and-yon\/slipstream\/tony-ballantyne\/another-almost-true-story\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Tony \u00e9crit un r\u00e9cit \u00e0 la troisi\u00e8me personne, au pr\u00e9sent, \r\ncomme on le conseille dans les \u00e9coles d\u2019\u00e9criture. Il fait une \r\npause et se demande si ce ne serait pas mieux \u00e0 la deuxi\u00e8me \r\npersonne. Sa femme Barbara arrive et lit par dessus son \u00e9paule \r\navant de lui faire remarquer qu\u2019il d\u00e9teste \u00e7a. Il r\u00e9pond que \r\nses id\u00e9es sont confuses et passe \u00e0 la premi\u00e8re personne. \r\nMais finalement, est-ce bien lui qui d\u00e9cide ?<\/i> (P.C.)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nRepris dans l'anthologie Microcosms, ed. Tony Ballantine \r\n&amp; Eric Brown, mars 2017 \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2017 <b>The Human Way<\/b> (novelette, univers\r\n<i>Recursion<\/i>), <i>Analog<\/i>, mars-avril 2017<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\u201c<i>a philosophical sort of piece, set on a planet prepared for human\r\ninhabitation, then abandoned. An alien S (a silicon-based lifeform)\r\nhas been kidnapped, and the Second Antarctic Army becomes involved in\r\nthe effort to recover it. What\u2019s interesting is the social\r\norganization of the army and the radical Human Way group, and the S \u2013\r\nand what all this implies about what makes a species successful \u2013\r\nor what \u2018success\u2019 means.<\/i>\u201d\r\n(Rich Horton, <a href=\"https:\/\/locusmag.com\"><i>Locus<\/i><\/a>, avril 2017) \r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2017 <b>A Pound of Darkness, a Quarter of Dreams<\/b>\r\n(nouvelle, fantasy), <i>Lightspeed<\/i> #88, septembre 2017<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"http:\/\/www.lightspeedmagazine.com\/fiction\/pound-darkness-quarter-dreams\/\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>Set in a fantastic version of the early Twentieth Century, \r\n[the story] features a shopkeeper as its heroine. She confronts \r\n a newrepresentative from her wholesaler, who offers her items \r\n of evil magic. Knowing that she faces financial ruin if she \r\n refuses to carry such things, she engages in a dangerous battle \r\n of wits with the sinister figure in order to save her soul and \r\n those of her customers.<\/i>\" (Victoria Silverwolf, \r\n <a href=\"https:\/\/www.tangentonline.com\/index.php\">\r\n <i>Tangent Online<\/i><\/a>, septembre 2017)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2018 <b>Trapezium<\/b> (novelette, univers\r\n<i>Recursion<\/i>), <i>Analog<\/i>, septembre-octobre 2018<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\u201c<i>[The story] takes place aboard a sentient starship. The \r\nthree human beings aboard her accept a high-paying assignment \r\nto transport a dangerous alien to a scientific research station. \r\nThe being has no body of its own, but is a program that constructs \r\na physical form from whatever materials are available. The alien \r\nseems only curious at first, examining all parts of the starship. \r\nIt refrains from attacking the humans only because it knows, and \r\nthey know, that they have a weapon aboard that can destroy it. \r\nA deadly cat-and-mouse game begins, complicated by the fact that \r\nneither the alien nor the crew know what the weapon might be.<\/i>\u201d \r\n(Victoria Silverwolf, <a href=\"https:\/\/www.tangentonline.com\/index.php\">\r\n<i>Tangent Online<\/i><\/a>, ao\u00fbt 2018)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2019 <b>Midway<\/b> (SF), <i>Lightspeed<\/i> #104,\r\njanuary 2019<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"http:\/\/www.lightspeedmagazine.com\/fiction\/midway\/\">\r\nLien Internet<\/a> (consult\u00e9 en juillet 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Le narrateur anonyme est un voyageur qui se d\u00e9place depuis trente\r\nans de plan\u00e8te en plan\u00e8te. Ces quinze derni\u00e8res ann\u00e9es, il a \u00e9t\u00e9\r\n\u00e0 chaque fois le premier humain \u00e0 fouler une terre extraterrestre.\r\nCertes, seul un faible pourcentage de plan\u00e8tes est peupl\u00e9 de races\r\ncapables d\u2019interagir avec les humains, mais, sur les milliards qui\r\nexistent, il en reste un nombre consid\u00e9rable \u00e0 qui vendre des\r\nbribes de la culture humaine plurimill\u00e9naire. Il en retire de quoi\r\naller plus loin. <\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>Il y a quelques semaines, il a f\u00eat\u00e9 en\r\nsolitaire son cinquanti\u00e8me anniversaire. Arriv\u00e9 au milieu de son\r\nexistence, il est temps de faire une pause et de prendre une\r\nd\u00e9cision. Continuer ou retourner sur Terre ? <\/i><\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<i>C\u2019est alors que, gr\u00e2ce \u00e0 un bip\u00e8de extraterrestre \r\ncouvert de champignon nomm\u00e9 Rexel, il\r\nrencontre un autre \u00eatre humain, une femme \u00e2g\u00e9e\r\nde soixante ans. La premi\u00e8re femme qu\u2019il voit\r\ndepuis douze ans.<\/i> (P.C.)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2019 <b>Trespass<\/b> (SF), <i>Analog<\/i>, septembre-octobre 2019<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>The protagonist [...] i\r\ns a mercenary, hired to track down an old\r\nacquaintance who obtains dangerous alien technology. The device, worn\r\nlike a suit, allows him to journey instantaneously to any place he\r\ncan see. (As the narrator says, it's pretty much the science fiction\r\nequivalent of seven-league boots.) A battle between the man and his\r\nformer associates leads to the death of innocent bystanders, making\r\nit vital to stop him. [...]<\/i>\"Victoria Silverwolf, \r\n<a href=\"https:\/\/www.tangentonline.com\/index.php\">\r\n<i>Tangent Online<\/i><\/a>, ao\u00fbt 2019)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2021 <b>Tail Call Optimization<\/b> (novelette, SF), \r\n<i>Analog<\/i>, mars-avril 2021<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>In this novelette, Ballantine\r\nreturns to his far-future universe in which \u2018BoboboCedian\u2019\r\nrobotic constructs \u2018live\u2019 in groups as hive minds. In this story,\r\none robotic construct (a part of the \u2018Finn\u2019 collective) is\r\nworking with poor efficiency, infected with a virus that causes him\r\nto constantly count up Fibonacci sequences. He is treated with no\r\nrespect by other instances of Finn. On its travels within the\r\nasteroid where it lives, looking for tech parts to recycle, the\r\nprotagonist \u2018Finn\u2019 comes across another mind, or \u2018processing\r\nspace\u2019 called Vivian, who claims to be something he has never\r\nencountered before: a human. <\/i><i>[...]<\/i>\" (Mike Bickerdike,\r\n<a href=\"https:\/\/tangentonline.com\/print-bi-monthly\/analog-march-april-2021\/\">\r\n<i>Tangent Online<\/i><\/a>, mars 2021)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2024 <b>A Stream of Leaves<\/b> (nouvelles, SF), \r\n<i>Analog<\/i>, septembre-octobre 2024 <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n\"<i>[...] In a far future, on the\r\nmysterious world of Oberon, a man who has made a deal with aliens to\r\nbetter understand the nature of humanity, travels to a strange locus\r\non the planet to obtain his answer. While the man eschews emotion\u2014and\r\nhis essential humanity\u2014he travels with a woman who embraces her\r\nemotions. [...]<\/i>\" (Mike Bickerdike, \r\n<a href=\"https:\/\/tangentonline.com\/print-bi-monthly\/analog-september-october-2024\/\">\r\nTangent Online<\/a>, septembre 2024)\r\n<\/p>\r\n<\/div>\t\t\t\t\t\t <\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t <div role=\"tabpanel\" class=\"tab-pane \" id=\"tabs_desc_422_7\">\r\n\t\t\t\t\t\t\t\t<div>\r\n<p style=\"text-align : center;font-weight: bold;font-family: Arial, Helvetica, Verdana, sans-serif;font-size: 1.5em\">\r\nANTHOLOGIES\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2017 <b>Microcosms<\/b> (avec Eric Brown),\r\n<i>Infinity Plus<\/i>, mars 2017<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nLe site <i>isfdb.org<\/i> classe <i>Microcosms<\/i> dans les \r\nanthologies, mais on pourrait aussi parler de recueil en commun, \r\ntous les r\u00e9cits \u00e9tant soit de Tony Ballantyne, soit d'Eric Brown \r\n<\/p>\r\n<\/div>\t\t\t\t\t\t <\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t <div role=\"tabpanel\" class=\"tab-pane \" id=\"tabs_desc_422_8\">\r\n\t\t\t\t\t\t\t\t<div>\r\n<p style=\"text-align : center;font-weight: bold;font-family: Arial, Helvetica, Verdana, sans-serif;font-size: 1.5em\">\r\nSELECTION D'ESSAIS\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2009 <b>Lilo &amp; Stitch<\/b>, anthologie <i>SF Writers on SF \r\nFilms from Akira to Zardoz<\/i>, ed. Martin Lewis, 2009 <\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">Repris dans l'anthologie \r\n<i>Cinema Future: Essays on Favourite Science Fiction \r\nMovies<\/i>, ed. Mark Morris, septembre 2010<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2013 <b>Aethernet Magazine<\/b>, \r\n<i>Focus<\/i> #61, 2013 <\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\n2015 <b>How Long Does It Take to Write a Novel ?<\/b>,\r\n<i>Focus<\/i> #65, 2015 \r\n<\/p>\r\n<\/div>\t\t\t\t\t\t <\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t <div role=\"tabpanel\" class=\"tab-pane \" id=\"tabs_desc_422_9\">\r\n\t\t\t\t\t\t\t\t<div>\r\n<p style=\"text-align : center;font-weight: bold;font-family: Arial, Helvetica, Verdana, sans-serif;font-size: 1.5em\">\r\nLIENS INTERNET\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nSites personnels\u00a0:<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/www.tonyballantyne.com\/\">\r\nhttps:\/\/www.tonyballantyne.com\/<\/a>\r\n(consult\u00e9 en septembre 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/blog.tonyballantyne.com\/\">\r\nhttps:\/\/blog.tonyballantyne.com\/<\/a>\r\n(blog) (consult\u00e9 en septembre 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/tonyballantyne.wordpress.com\/\">\r\nhttps:\/\/tonyballantyne.wordpress.com\/<\/a>\r\n(ancien blog 2009-2013) (consult\u00e9 en septembre 2019)<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"http:\/\/tech.tonyballantyne.com\/\">\r\nhttps:\/\/tech.tonyballantyne.com\/<\/a>\r\n(consacr\u00e9 \u00e0 l\u2019informatique) (consult\u00e9 en septembre 2019)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nEncyclopedia of Science Fiction :<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"http:\/\/www.sf-encyclopedia.com\/entry\/ballantyne_tony\">\r\nhttps:\/\/www.sf-encyclopedia.com\/entry\/ballantyne_tony<\/a>\r\n(consult\u00e9 en septembre 2019)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nInternet Speculative Fiction Data Base :<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"http:\/\/www.isfdb.org\/cgi-bin\/ea.cgi?18304\">\r\nhttps:\/\/www.isfdb.org\/cgi-bin\/ea.cgi?18304<\/a>\r\n(consult\u00e9 en septembre 2019)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nWikipedia :<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<a href=\"https:\/\/en.wikipedia.org\/wiki\/Tony_Ballantyne\">\r\nhttps:\/\/en.wikipedia.org\/wiki\/Tony_Ballanty<\/a><a href=\"https:\/\/en.wikipedia.org\/wiki\/Tony_Ballantyne\">ne<\/a>\r\n(consult\u00e9 en septembre 2019)\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nNooSFere :<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\n<\/a>rien\r\n<\/p>\r\n<p style=\"font-family: Georgia, Garamond, serif;font-size: 1.2em;margin-top: 30px;margin-bottom: 10px\">\r\nQuarante-Deux :<\/p>\r\n<p style=\"margin-left: 30px;margin-top: 10px;margin-bottom: 10px\">\r\nrien\r\n<\/p>\r\n<\/div>\t\t\t\t\t\t <\/div>\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t <\/div>\r\n\t\t\t\t\t \r\n\t\t\t\t <\/div>\r\n <script>\r\n\t\tjQuery(function () {\r\n\t\t\tjQuery('#myTab_422 a:first').tab('show')\r\n\t\t});\r\n\t\t\r\n\t\t\t\tjQuery(function(){\r\n\t\t\tvar b=\"fadeIn\";\r\n\t\t\tvar c;\r\n\t\t\tvar a;\r\n\t\t\td(jQuery(\"#myTab_422 a\"),jQuery(\"#tab-content_422\"));function d(e,f,g){\r\n\t\t\t\te.click(function(i){\r\n\t\t\t\t\ti.preventDefault();\r\n\t\t\t\t\tjQuery(this).tab(\"show\");\r\n\t\t\t\t\tvar h=jQuery(this).data(\"easein\");\r\n\t\t\t\t\tif(c){c.removeClass(a);}\r\n\t\t\t\t\tif(h){f.find(\"div.active\").addClass(\"animated \"+h);a=h;}\r\n\t\t\t\t\telse{if(g){f.find(\"div.active\").addClass(\"animated \"+g);a=g;}else{f.find(\"div.active\").addClass(\"animated \"+b);a=b;}}c=f.find(\"div.active\");\r\n\t\t\t\t});\r\n\t\t\t}\r\n\t\t});\r\n\t\t\r\n\r\n\t\tfunction do_resize(){\r\n\r\n\t\t\tvar width=jQuery( '.tab-content .tab-pane iframe' ).width();\r\n\t\t\tvar height=jQuery( '.tab-content .tab-pane iframe' ).height();\r\n\r\n\t\t\tvar toggleSize = true;\r\n\t\t\tjQuery('iframe').animate({\r\n\t\t\t    width: toggleSize ? 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