Ed King
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- € 16,99
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From the bestselling author of Snow Falling on Cedars, a dazzling, darkly funny, compulsively readable retelling of Sophocles's Oedipus Rex that takes us from the 1962 Seattle World's Fair to the twenty-first century headquarters of an Internet search giant.
'Superbly organised and sophisticated ... Excellently entertaining' Sunday Times
'A great story and a riveting read' Daily Mail
In 1962, when Walter Cousins sleeps with his British au pair, Diane Burroughs, he can have no sense of the magnitude of his error: this brief affair sets in motion a tragedy of epic proportions, upending Sophocles's immortal tale of fate, free will, and forbidden desire.
At the centre is Ed King, an infant given up for adoption who becomes one of the world's most powerful men. But beneath the gripping story of Ed's seemingly inexorable rise to fame and fortune is a dark and unsettling destiny, one that approaches with ever-increasing suspense as the novel reaches its shattering conclusion.
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Guterson (The Other) uses key elements of Oedipus the King as scaffolding for a snarky comedy skewering contemporary values. In 1962, a 34-year-old actuary seduces an underage au pair, producing a child who, abandoned, is adopted by the prosperous King family and named Edward. But Ed is not a king in name only; he grows into the "king of search," a man in the mold of Jobs or Gates running a company/kingdom akin to Google called Pythia. Guterson fans may be surprised at his lack of sympathy this time out; his characters are superficially realized and relentlessly ridiculed. The cure for the guilt Ed feels over causing a stranger's death? The right antidepressant. Ed has copious encounters with older girls, and then older women, a recurring theme Guterson employs partly for fun, but mostly to trumpet his point: Ed's not only Sophocles' Oedipus but also Freud's, thanks to an oversized (and oversimplified) Oedipus complex. But Guterson gives the myth neither new perspective nor fresh twist, and the ancient drama doesn't illuminate the present. The novel's worldview doesn't allow for heroes or gods, and treats fate as if it were mere coincidence. But the story is propelled by irony, much of it delightful, and if we're able to mock ourselves, we can't be all bad. Can we?
