The Almighty is not a dystopia. Or at least, it wasn’t meant to be.

When first published in French in 2022, it was seen as a dark prophecy. In truth, it offers something quieter, and more unsettling — a mirror held up to a fractured present, where power wears a thousand faces and truth is reduced to aesthetic.

Conceived between 2008 and 2018, the novel has proven disturbingly accurate in its political and social vision — to the point that the symbol it quietly traced throughout has now returned, unmistakably, to haunt the world it foresaw.

This is not a warning. It’s a confession — perhaps even that of Lazare, the novel’s protagonist, who confronts the raw brutality of digital capitalism in its most intimate and systemic forms.

At the heart of its vision lies a new emblem: the business swastika. Sleek, efficient, quietly omnipresent. Power no longer imposes — it organizes.

The Almighty is a lucid, poetic, and unsparing meditation on the mechanisms of contemporary control. It doesn’t ask the reader to imagine the future — only to recognize the architecture of now.

For readers of Orwell, Philip K. Dick, Don DeLillo, or Norman Mailer.

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