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DeLillo, Don

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Don DeLillo after the Millennium: Currents and Currencies examines all the author’s work published in the 21st century: The Body Artist, Cosmopolis, Falling Man, Point Omega, and Zero K, the plays Love-Lies-Bleeding and The Word for Snow, and the short stories in The Angel Esmeralda. What topic doesn’t DeLillo tackle? Cyber-capital and currency markets, ontology and intelligence, global warming and cryogenics, Don DeLillo continues to ponder the significance of present cultural currents and to anticipate the waves of the future. Performance art and ethics, drama and euthanasia, space studies and the constrictions of time, DeLillo perspicaciously reads our culture, giving voice to the rhythms of our vernacular and diction. Rich and resonant, his work is so multifaceted in its attention that it accommodates a wide variety of critical approaches while its fine and filigreed prose commends him to a poetic appreciation as well. Don DeLillo after the Millennium brings together an international cast of scholars who examine DeLillo’s work from many critical perspectives, exploring the astonishing output of an author who continues to tell our stories and show us ourselves.

DeLillo, Don

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DeLillo, Don

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DeLillo, Don

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In novel after award-winning novel, Don DeLillo (b. 1936) exhibits his deep distrust of language and the way it can conceal as much as it reveals. Not surprisingly, DeLillo treats interviews with the same care and caution. For years, he shunned them altogether. As his fiction grew in popularity, especially with White Noise, and he began to confront the historical record of our times in books such as Libra, DeLillo felt compelled to make himself available to his readers. Despite claims by interviewers about his elusiveness, he now hides in plain sight. In Conversations with Don DeLillo, the renowned author makes clear his distinctions between historical fact and his own creative leaps, especially in his masterwork, Underworld. There it seems the true events are unbelievable and imaginary ones not. Throughout long profiles and conversations-ranging from 1982 to 2001 and published in the New Yorker, the Paris Review, and Rolling Stone-DeLillo parries personal inquiries. He counters with the details of his work habits, his understanding of the novelist's role in the world, and his sense of our media-saturated culture. A number of interviews detail DeLillo's less-heralded work in the theater, from The Day Room to a recent production of Valparaiso, itself a stinging satire on the interviewing process. DeLillo also finds time to comment on his nonliterary passions, primarily the movies and baseball. Lee Harvey Oswald also inspires much extraliterary discussion, not just as the subject of Libra, but as a figure who, like the terrorists always lurking in DeLillo's fictions, captures our attention in ways novelists cannot. For DeLillo, a writer who eschews celebrity, the ultimate response might be the one he offered in his very first interview, paraphrasing Joyce: "Silence, exile, cunning, and so on. It's my nature to keep quiet about most things." Fortunately for his many readers and fans, he proves himself here to be a talker.

Fiction --- Novelists, American --- Authorship. --- DeLillo, Don --- DELILLO (DON), 1936 --- -INTERVIEWS