Jeffrey Lockhart has been summoned to The Convergence: a remote and secret compound where death is exquisitely, cryogenically controlled.
He is there to say goodbye to his stepmother, Artis, who has chosen to surrender her dying body; preserving it until a future time when biomedical advances and new technologies can return her to a life of transcendent promise.
And his healthy father, Ross, might join her.
Hypnotic and seductive, Don DeLillo's Zero K is a visionary novel about the legacies we leave, the nobility of death, and the ultimate worth of 'the mingled astonishments of our time, here, on earth.'
He is there to say goodbye to his stepmother, Artis, who has chosen to surrender her dying body; preserving it until a future time when biomedical advances and new technologies can return her to a life of transcendent promise.
And his healthy father, Ross, might join her.
Hypnotic and seductive, Don DeLillo's Zero K is a visionary novel about the legacies we leave, the nobility of death, and the ultimate worth of 'the mingled astonishments of our time, here, on earth.'
Both beautiful and profound, certainly DeLillo's best since Underworld, it forces us to confront the spectre of our own mortality, to ask deep questions of our motives in wishing to prolong our span on Earth. We finish the novel with a sudden recognition of the kindness of death, the balm of a bounded life Observer
"Mr. DeLillo's haunting new novel, Zero K - his most persuasive since his astonishing 1997 masterpiece, Underworld - is a kind of bookend to White Noise: somber and coolly futuristic, where that earlier book was satirical and darkly comic. . . . . All the themes that have animated Mr. DeLillo's novels over the years are threaded through Zero K - from the seduction of technology and mass media to the power of money and the fear of chaos. . . . like a chamber music piece. . . . reminds us of his almost Day-Glo powers as a writer and his understanding of the strange, contorted shapes that eternal human concerns (with mortality and time) can take in the new millennium." Michiko Kakutani, New York Times







