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Condition: Used: Good
Comment: Hardcover with dustjacket, in good condition.

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Zero K Hardcover – May 3, 2016

2.9 out of 5 stars 151 customer reviews

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Product Details

  • Hardcover: 288 pages
  • Publisher: Scribner; First Edition edition (May 3, 2016)
  • Language: English
  • ISBN-10: 1501135392
  • ISBN-13: 978-1501135392
  • Product Dimensions: 6.1 x 1 x 9 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 2.9 out of 5 stars  See all reviews (151 customer reviews)
  • Amazon Best Sellers Rank: #11,269 in Books (See Top 100 in Books)

Customer Reviews

Top Customer Reviews

By TChris TOP 500 REVIEWER on May 3, 2016
Format: Hardcover
Is life anything more than the absence of death? The question is at the heart of Zero K, a novel about life and death. What else would a Don DeLillo novel be about?

DeLillo tells us that death is coming. It may claim an individual (cancer, heart failure) or a large population (terrorism, pandemic, global warming). The odds are good an extinction event will eventually wipe out humanity. “Catastrophe is our bedtime story.” Yet even as life becomes more fragile, humans find the possibility of death increasingly unacceptable.

Jeffrey Lockhart’s wealthy father has taken Artis, his current wife, to an underground facility in a remote part of the world where she will be placed into cryogenic suspension, followed by emergence “in cyberhuman form into a universe that will speak to us in a very different way.” The facility’s approach to death avoidance, unlike Jeffrey, is deeply philosophical, blending science with a variety of new age perspectives, some of which DeLillo presents with tongue-in-cheek.

The first section of the novel takes place at the facility, to which Jeffrey has traveled at his father’s request so he can be present when Artis dies. Jeffrey engages with his father and with Artis as she prepares for death, preservation, or transition (whatever that fate might turn out to be)). He also engages with contemplative individuals who serve ambiguous purposes within the facility. While Jeffrey’s engagement is more an act of observation than interaction (he prefers to invent names for people rather than learning their actual names), one of the monks me meets is even less interactive. Perhaps being surrounded by death has that effect.
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Format: Hardcover
I’ve been around for almost three-quarters of a century, and I’ve learned by now that absurdities abound and that I should be cautious about dismissing any fictive premise as implausible. Nonetheless, much of Don DeLillo’s Zero K is hard to swallow, and on top of that the writing is painfully labored at least half of the time.

Not that the book is without deft passages such as this:

“Know the moment, feel the gliding hand, gather all the forgettable fragments, fresh towels on the racks, nice new bar of soap, clean sheets on the bed, her bed, our blue sheets. This was all I needed to take me day to day and I tried to think of these days and nights as the hushed countermand, ours, to the widespread belief that the future, everybody’s will be worse than the past.”

And that is deftly followed by this:

“One of my father’s people called with the details. Time, place, manner of dress. This was lunch — but why. I didn’t need lunch in a midtown temple of cuisine art where jackets are required and the food and flower arrangements are said to be exquisite and the staff more competent than pallbearers at a state funeral.”

But if you haven’t read any DeLillo, by no means begin with this one. Instead turn to his 1997 masterpiece Underworld, which is dazzling sentence-for-sentence for all of its 827 pages, beginning with this memorable opening line: “He speaks in your voice, American, and there’s a shine in his eye that’s halfway hopeful.” Underworld is surely one of very finest American novels of the past half century.
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Format: Hardcover
When death animates the narrative of ZERO K, DeLillo is principally examining the beliefs and actions of Ross Lockhart, a mid-sixties billionaire with a terminally-ill second wife, who is questing for immortality. In supporting this quest, Lockhart—not his real name—has become a generous contributor to a cult-like cryogenics facility that will repair and reanimate its frozen and encapsulated “dormants” when cures are found for their diseases.

Meanwhile, Jeffrey Lockhart, Ross’s 34 year-old son, is DeLillo’s narrator and his spokesman for angst. Angry Jeffery never got over Ross’s decision to walk out of his first-marriage, which occurred when he was thirteen. And as an adult, Jeffrey deals with his insecurity and anxieties, as well as his eidetic memories of his mother’s death, with an obsessive awareness of the texture and detail in life and the performance of small reassuring rituals—check the keys, check the wallet, check the burners on the stove. At the same time, Jeffrey copes with his anger through a strange non-career; Ross arranges job interviews, usually for corporate positions with vague but jargonish titles, for which Jeffrey receives offers that he declines.

Both men are crazy. At the same time, both men are excellent vehicles for the great Don to do his thing.

Here, for example, is what Ross hears and accepts as a visionary woman in the tech and immortality cult describes cyber-resurrection. “Your situation, those few of you on the verge of the journey toward rebirth. You are completely outside the narrative of what we refer to as history. There are no horizons here…”

In contrast, here’s Don explaining Jeffrey.
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