#jacques bergier

[transparentgentlemenmarker]

Dans Flight 714, le personnage de Mik Ezdanitoff s'inspire de Jacques Bergier, l'ingénieur, journaliste et écrivain français. Le nom slave de Mik Ezdanitoff est en fait emprunté au Marollian du dialecte bruxellois. Il est prononcé dat niet tof ? ce qui veut dire ce n'est-ce pas sympa

[science70]

Les meilleures histoires de science-fiction soviétique, edited by Jacques Bergier (Marabout, 1972).

Cover art: Henri Lievens

[ahumourlessworld]

“The surface of the planet today is covered in a chain-linked mesh of associations that join together to form a man-made network of irregular density.

Through this network, society's lifeblood circulates. The transport of people, of merchandise, of commodities; multiple transactions, sales orders, purchase orders, bits of information, all pass each other by; there are also other, more strictly intellectual or affective exchanges that occur. This incessant flux bewilders humanity, engrossed as it tends to be by the cadaverous leaps and bounds of its own activities.

But in a few spots where the network's links are weakly woven, strange entities may allow a seeker, one who "thirsts for knowledge," to discern their existence. In every place where human activity is interrupted, where there is a blank on the map, these ancient gods crouch, huddled, waiting to take back their rightful place.

As in the terrifying interior Arabian desert, the Rub-al-Khalid, from whence a Mohammedan poet named Abdul Al-Hazred was returning around the year 731 after ten years of utter solitude. Having grown indifferent to the practices of Islam, he devoted the year that followed to writing an impious and blasphemous book, the repugnant Necronomicon (several copies of which escaped the pyre and traversed the ages) before being devoured by invisible monsters in broad daylight at the Damascus market square.

As in the unexplored plains of Northern Tibet, where degenerate Tcho-Tchos lope around in adoration of unnameable deities they qualify as "the Great Old Ones."

And as in the huge expanses of the South Pacific, where the paradoxical trails of unexpected volcanic convulsions at times produce utterly inhuman sculptures and geometry which the abject and depraved natives of the Tuamotu archipelago worship, crawling forward on their upper bodies.

At the intersections of these channels of communication, man has erected giant, ugly metropolises where each person, isolated in an anonymous apartment, in a building identical to the others, believes absolutely that he is the center of the world and the measure of all things. But beneath the warrens of these burrowing insects, very ancient and very powerful creatures are slowly awakening from their slumber. During the Carboniferous age, during the Triassic and the Permian ages, they were here already; they have heard the roars of the very first mammals and will know the howls of agony of the very last.

Howard Phillips Lovecraft was not a theoretician. Jacques Bergier clearly understood that, by introducing materialism into the heart of fear and fantasy, HPL created a new genre. It is no longer a question of believing or not believing, as in certain vampire or werewolf tales; there is no possible reinterpretation, there is no escape. There exists no horror less psychological, less debatable.” - Michel Houellebecq, ‘H. P. Lovecraft: Against the World, Against Life’ (1991) [p. 57 - 59]

[basicallyanotherwitchesthing]

Louis Pauwels, Jacques Bergier - The Morning of the Magicians - Mayflower - 1971

[mangogatherer]

[basicallyanotherwitchesthing]

Louis Pauwels and Jacques Bergier - The Dawn Of Magic - Panther - 1964

[basicallyanotherwitchesthing]

Louis Pauwels and Jacques Bergier - The Dawn Of Magic - Panther - 1969

[negreabsolut]

Coberta d'una de les edicions en anglès d'Eternal Man (L'Homme éternel, en l'original francès), de Louis Pauwels & Jacques Bergier.