Zero K, the latest novel by the greatly admired American
author Don DeLillo, is a pre/post-apocalyptic take on the state of mankind
sometime in the near future. I'm not
sufficiently up on the current evolution of cryogenics to comment on where we
are at this time, and I suppose I really don't care, or I would have done some
obligatory research before I wrote this article. Freezing dying bodies for the distant future
seems to me a subject for science fiction, but DeLillo treats the subject with
such deadpan realism that one can hardly approach this work as such, and I'm
not familiar with his other work, so I can't say whether this is a departure
for him or not. To be fair, the second
half of the novel is concerned with another subject entirely, and I'm not sure
at this point how I would connect the two.
Those of DeLillo's fans who are interested in how young men in America
might be won over to terrorism will find that topic finely explored in the
second half of the book.
As for the book as a whole, it's well written,
graphically presented, and clinically cold.
One could say that for the entire book and its protagonist, the only son
of an American billionaire (no, not Donald Trump), who has funded an immense
cryogenics project called "The Convergence" somewhere in a vast
underground bunker in Outer Mongolia.
The son, who narrates virtually the entire book, is torn between his
admiration for his father's second wife, a prominent archaeologist, who is
dying and will be frozen in expectation of a "return," and his
disdain for his father's abandonment of his first wife, the man's mother, who
virtually raised him as a single parent while her ex-husband was accumulating a
vast fortune. As for his feelings toward
his own father, they are, to say the least, ambivalent.
This is a novel of profound ideas and notions about death
and the human desire for an afterlife. As such, it can seriously command our attention without
necessarily engaging us as readers of fiction. As with most novels of ideas, it teeters
somewhat precariously between being fiction or non-fiction, because it lacks
too much of the elements of the former, that is, narrative drive, character
development and emotional tone. Are
fundamental ideas about the nature of human existence best suited to philosophy
or epic poetry? Or else the tragedies of
Shakespeare? I suspect I probably think
so!