Zero K
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- £8.99
Publisher Description
Zero K er Don DeLillos første roman i ti år og er en mesterlig skildring af livet og kampen mod døden.
Jeffrey Lockharts far, Ross, er mangemilliardær og gift med den yngre kvinde, Artis, som er uhelbredeligt syg. Ross er hovedinvestor i et afsides liggende og hemmeligt kompleks, hvor alvorligt syge mennesker fryses ned i håbet om, at de kan vende tilbage til livet den dag, hvor medicinske fremskridt ville kunne kurere dem.
Jeffrey slutter sig til Ross på komplekset for at sige farvel til sin stedmor, inden hun fryses ned, da Ross fortæller, at han har i sinde at følge med hende og lade sig fryse ned.
"Et af DeLillos bedste værker ... DeLillo lister en hjerteskærende historie om en søn, der forsøger at genskabe forholdet til sin far, ind i en tankevækkende roman."
– PUBLISHERS WEEKLY
Don DeLillo (f. 1936) har med romanerne Hvid støj (1985), Vægten (1988), Mao II (1991) og Underverden (1997), Kosmopolis () der alle udforsker den amerikanske sjæl, sikret sig en position som en af USA's mest betydende nulevende forfattere.
PUBLISHERS WEEKLY
DeLillo's 17th novel features a man arriving at a strange, remote compound (we are told the nearest city is Bishkek) a set-up similar to a few other DeLillo books, Mao II and Ratner's Star among them. This time, the protagonist is Jeffrey Lockhart, who is joining his billionaire father, Ross, to say good-bye to Ross's second wife (and Jeffrey's stepmother), Artis. The compound is the home of the Convergence, a scientific endeavor that preserves people indefinitely; in Artis's case, it's until there's a cure for her ailing health. But as with any novel by DeLillo, our preeminent brain-needler, the plot is window dressing for his preoccupations: obsessive sallies into death, information, and all kinds of other things. Longtime readers will not be surprised that there's a two-page rumination on mannequins. But a few components elevate Zero K, which is among DeLillo's finest work. For one, DeLillo has become better about picking his spots the asides rarely, if ever, drag, and they are consistently surprising and funny. And his focus and curiosity have moved far into the future: much of this novel's (and Ross's) attention is paid to humankind's relationship and responsibility to what's to come. What's left behind and forgotten is the present, here represented by Jeffrey, the son whom Ross abandoned when he was 13. DeLillo sneaks a heartbreaking story of a son attempting to reconnect with his father into his thought-provoking novel.
