Journal articles: 'Don DeLillo'

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Porter, Chris. "Don DeLillo (review)." symploke 13, no. 1 (2005): 366–67. http://dx.doi.org/10.1353/sym.2006.0033.

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McAuliffe, J. "Interview with Don DeLillo." South Atlantic Quarterly 99, no. 2-3 (April 1, 2000): 609–16. http://dx.doi.org/10.1215/00382876-99-2-3-609.

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Luo, Xiaoxia. "Cultural Trauma in DeLillo’s Falling Man." Journal of Education and Culture Studies 4, no. 3 (July 20, 2020): p53. http://dx.doi.org/10.22158/jecs.v4n3p53.

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Don DeLillo’s Falling Man concentrates on the 9/11 catastrophe with its grand historical background, complex language, changing spaces and complicated narrative structure. This article tries to put Falling Man under the perspective of trauma and examine Don DeLillo’s exploration of the cultural trauma, the relations between the Western world and the Islamic world. In the novel, DeLillo uses individual trauma to represent the cultural trauma experienced by the nation as a whole. In the meantime, DeLillo juxtaposes two cultures in the novel by narrating from two perspectives to show the long-standing misunderstanding and conflict between two different cultures and discusses the possibility of dialogue between them.

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Grgas, Stipe. "CAPITALIST REALISM, FINANCE AND DON DELILLO." Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu 63, no. 3-4 (March 19, 2020): 197–209. http://dx.doi.org/10.22210/ur.2019.063.3_4.04.

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CAPITALIST REALISM, FINANCE AND DON DELILLO The author begins his paper by recalling his qualms about the fact that the Split conference subsumed capitalist realism under the overall conference topic of Words and Images. His first step is to engage with Fisher’s notion of capitalist realism. After a brief overview of what Fisher understands by this notion, the author argues that any discussion of capitalist realism has to take into consideration the changes that have taken place in the nature of money. It is only when these changes are taken into account, changes that have to do with the fact that we recognize money as a system if not the system of representation, that one recognizes how relevant words and images are to discussions of capital. After a discussion of the ascendancy of finance during the latest mutation of capitalism, the author proceeds to give a reading of Don DeLillo’s short story “Hammer and Sickle” in which he shows how the text deals with finance, how DeLillo thematizes the difficulty of understanding finance and how all of this has a bearing on the lack of an alternative to capitalism announced in Fisher’s explanation of capitalist realism.

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Chénetier, Marc, and François Happe. "An Interview with Don DeLillo." Revue Française d Etudes Américaines 87, no. 1 (2001): 102. http://dx.doi.org/10.3917/rfea.087.0102.

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Rollins, J. B. "Point Omega by Don DeLillo." World Literature Today 84, no. 3 (2010): 64. http://dx.doi.org/10.1353/wlt.2010.0173.

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Walker, Joseph S. "Don DeLillo: A Selected Bibliography." MFS Modern Fiction Studies 45, no. 3 (1999): 837–51. http://dx.doi.org/10.1353/mfs.1999.0057.

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Gauthier, Marni J. "Conversations with Don DeLillo (review)." Modernism/modernity 13, no. 2 (2006): 410–12. http://dx.doi.org/10.1353/mod.2006.0041.

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Alvarez Trigo, Laura. "Don DeLillo’s Adapted Novels: The Treatment of Language, Space, and Time on Screen." Miscelánea: A Journal of English and American Studies 66 (December 13, 2022): 151–69. http://dx.doi.org/10.26754/ojs_misc/mj.20227359.

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Don DeLillo is an author who pays special attention to language, time, and space when constructing characters’ identity as well as their milieu. Considering this aspect of his fiction, the present article looks at how cinematic adaptations of his novels translate time, space, and the use of language onto the screen. Two of DeLillo’s novels have been adapted so far: Cosmopolis (DeLillo 2003) by David Cronenberg in a 2012 movie of the same name, and The Body Artist (DeLillo 2001) by Benoît Jacquot under the title À Jamais (2016). In light of the importance that the aforementioned elements play in the author’s works, this article delves into how they are represented in the two adaptations and analyzes the role that they play in the movies compared to the novels.

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LeClair, Tom. "Serious but not Dangerous Don DeLillo." American Book Review 42, no. 4 (2021): 10–11. http://dx.doi.org/10.1353/abr.2021.0060.

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Fernandes, Giséle Manganelli, and Maura Cristina Frigo. "FRONTEIRAS HUMANO-SOCIOTECNOLÓGICAS EM DON DELILLO." Revista Scripta Uniandrade 16, no. 3 (2018): 343–58. http://dx.doi.org/10.5935/1679-5520.20180062.

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12

Maltby, Paul. "The Romantic Metaphysics of Don DeLillo." Contemporary Literature 37, no. 2 (1996): 258. http://dx.doi.org/10.2307/1208875.

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13

Abel, Marco. "Don DeLillo's “In the Ruins of the Future”: Literature, Images, and the Rhetoric of Seeing 9/11." PMLA/Publications of the Modern Language Association of America 118, no. 5 (October 2003): 1236–50. http://dx.doi.org/10.1632/003081203x68027.

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This essay explores the rhetorical strategies deployed by Don DeLillo in his essay on 9/11. What distinguishes the essay is less what it says about 9/11 than how, in responding to the event, it puts the question of response at stake. Resisting the demand to speak with moral clarity and declare what 9/11 means, he instead shows that response is always a question of response-ability, or the ethical “how.” To image 9/11, DeLillo rhetorically activates a neorealist mode of seeing that differs ethically from other accounts of perception, such as those of (neo)phenomenology. Whereas the latter locate the perceiving subject's perspective outside an event, DeLillo insists that point of view—the act of seeing—is immanent in the event. Responding to this immanence, DeLillo's rhetoric of seeing suspends and questions any representational judgment of 9/11.

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Behrooz, Niloufar, and Hossein Pirnajmuddin. "The Sublime in Don DeLillo’s Mao II." International Letters of Social and Humanistic Sciences 50 (March 2015): 137–45. http://dx.doi.org/10.18052/www.scipress.com/ilshs.50.137.

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The world that DeLillo’s characters live in is often portrayed with an inherent complexity beyond our comprehension, which ultimately leads to a quality of woe and wonder which is characteristic of the concept of the sublime. The inexpressibility of the events that emerge in DeLillo’s fiction has reintroduced into it what Lyotard calls “the unpresentable in presentation itself” (PC 81), or to put it in Jameson’s words, the “postmodern sublime” (38). The sublime, however, appears in DeLillo’s fiction in several forms and it is the aim of this study to examine these various forms of sublimity. It is attempted to read DeLillo’s Mao II in the light of theories of the sublime, drawing on figures like Burke, Kant, Lyotard, Jameson and Zizek. In DeLillo’s novel, it is no longer the divine and magnificent in nature that leads to a simultaneous fear and fascination in the viewers, but the power of technology and sublime violence among other things. The sublime in DeLillo takes many different names, ranging from the technological and violent to the hollow and nostalgic, but that does not undermine its essential effect of wonder; it just means that the sublime, like any other phenomenon, has adapted itself to the new conditions of representation. By drawing on the above mentioned theorists, therefore, the present paper attempts to trace the notion of sublimity in DeLillo's Mao II, to explore the transformation of the concept of the sublime under the current conditions of postmodernity as depicted in DeLillo’s fiction.

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Chang, Chi-Min. "Image Re-presentation in Don DeLillo’s Point Omega." Journal of English Language and Literature 9, no. 3 (June 30, 2018): 884–94. http://dx.doi.org/10.17722/jell.v9i3.368.

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While technological advancement and artistic creations have amazingly diversified the (re-)presentation of images, infinite image proliferation becomes an irresistible trend. To resist the subsuming power of the image-laden society, the renewed perceptions and interpretations of the image presentation are explored both in artistic presentation and in literary writing. Point Omega is a convergence of such an attempt. The paper explores how the time-featured image in Point Omega activates new idea, sensuous responses, and self-perception. Point Omega represents Douglas Gordon’s 24 Hour Psycho which is an adaptation of Hitchcock’s Psycho. By reframing the running speed to two frames a second, Gordon drastically challenges the familiar recognition and interpretation. Writing about Gordon’s work, DeLillo stresses the emergence of various perceptions, imaginations, and association in the video-watching process. No longer resting on the cultural critique on the media society as what has been done in his earlier works, DeLillo marks time as the prominent variable for the emergence of the new and the unknown. Moreover, DeLillo’s image representation highlights the physical condition which is both an essential feature of Gordon’s video installation and the hinge for DeLillo’s distinct writing. For one thing, the emergence of the new and the unthought lies in the interweaving between the spectator’s awareness and imagination of the physicality and his responses to the reframed image. For another, the physicality of the time-reframed image resonates with the desert underscored in the main story. In the story, DeLillo contends about the relation between the time-featured space and the transient self. The desert mirroring the time-featured image renders the distinctive conditions for different self-perception. Hence, the image representation in Point Omega proffers the condition for the unexpected and unthought, reconfigures the selfhood, and, significantly, enacts the alternative writing which trespasses from the filmic to the fictional, from the visual to the verbal.

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Pritchard, Simon. "Sounding an Idol: The Television as Imagetext in Don DeLillo’s White Noise." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 30 (December 24, 2021): 69–95. http://dx.doi.org/10.35869/afial.v0i30.3703.

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The response of critics to Don DeLillo’s seminal novel White Noise has centred on the connections that can be drawn between this work and the critical context that surrounded it upon its publication in 1984, namely the climate of radical scepticism ushered in by critics like Jean Baudrillard. This article attempts to argue that the relationship between the novel and this critical climate is far more antagonistic than has been acknowledged previously. Drawing upon the critic W.J.T. Mitchell’s reading of Friedrich Nietzsche’s concept of the “sounding”, as opposed to the iconoclastic smashing, of idols, the article will “sound” the idol which is at the centre of DeLillo’s novel: the television. This will show the critical distance that DeLillo deliberately established between his text and the texts of postmodern theory that were fashionable throughout the later twentieth century (particularly at the time White Noise was published) and will place DeLillo in a more contemporary context, his face turned not only to the past, but to the critical horizons ahead of him.

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Hetman, Jarosław. "Don DeLillo and the Ghost of Language." Theoria et Historia Scientiarum 14 (December 21, 2017): 87. http://dx.doi.org/10.12775/ths.2017.006.

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18

Brandt, Jenn. "Don DeLillo and Topologies of 9/11." Critique: Studies in Contemporary Fiction 55, no. 5 (October 13, 2014): 580–96. http://dx.doi.org/10.1080/00111619.2013.833496.

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19

Roger, Philippe. "Don DeLillo : la terreur et la pitié." Critique 675-676, no. 8 (2003): 554. http://dx.doi.org/10.3917/criti.675.0554.

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Carmichael, Thomas, David Cowart, and Mark Osteen. "Evanescence, Language, and Dread: Reading Don DeLillo." Contemporary Literature 44, no. 1 (2003): 176. http://dx.doi.org/10.2307/1209069.

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21

MORAN, JOE. "Don DeLillo and the Myth of the Author–Recluse." Journal of American Studies 34, no. 1 (April 2000): 137–52. http://dx.doi.org/10.1017/s0021875899006301.

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The subtly entrapping nature of celebrity has been a common theme of Don DeLillo's work since his third novel, Great Jones Street (1973), narrated by a twenty-six-year-old rock star, Bucky Wunderlick, who tires of fame in the middle of a national tour and goes to ground in a seedy New York bedsitter. This theme, however, finds its fullest expression in DeLillo's 1991 novel Mao II, where it is linked to a specific concern which may be closer to home for him – the paradoxical fascination with author–recluses in American celebrity culture. DeLillo, who came to reluctant terms with major league celebrity from the mid-1980s onwards after a long period of respectful reviews and polite notices, has praised reclusive authors for “refusing to become part of the all-incorporating treadmill of consumption and disposal,” in spite of the “automatic mechanism” of the media which tries “to absorb certain such reluctant entities into the weave.” Mao II is about what happens when this absorption takes place, and whether or not this wholly devalues the author's own tactics of silence and renunciation.

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22

Pavlikova, Martina. "Consciousness of Anxiety in Literary Work of Don DeLillo." XLinguae 10, no. 1 (January 2017): 62–69. http://dx.doi.org/10.18355/xl.2017.10.01.07.

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BrittoJenobia, J., and Dr V. Sekar. "The Anxiety of Death in Don DeLillo’s White Noise." Think India 22, no. 3 (September 25, 2019): 212–18. http://dx.doi.org/10.26643/think-india.v22i3.8151.

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Anxiety is a human condition which prevails common in many people. Anxieties can be differentiated into ‘ Primal anxiety’, ‘ Ontological anxiety’, ‘ Reality anxiety’, Psychological anxiety’, ‘Social anxiety’, and so on. The real fact is all these anxieties are in some way existential.Paul Tillich, a Christian existentialist says that according to him anxiety can be of three forms: Anxiety of Death, Anxiety of meaninglessness and Anxiety of Condemnation. Paul Tillich declares, “The Anxiety of death is the permanent horizon within which the anxiety of fate is at work”. In the modern world anything that follows negativity triggers intense anxiety. A strong sense of psychological isolation also leads to anxiety. Incidents of guilt, fear, absurdity, alienation also lead to anxiety of death. Don DeLillo himself in an interview to William Goldstein in Publishers Weekly (August 19, 1988) explained anxiety as being “about danger, modern danger”. The main characters in Don DeLillo novels face some of the causes for anxieties such as the necessity of choice, terrorism, technological and scientific advancement, lack of freedom, fear of death, dissatisfaction in life, boredom and loneliness. This paper examines Don DeLillo’s White Noise based on the concept Anxiety of Death.

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Carson, Jordan. "Transcendence in an Age of Tabloids and Terror." Religion and the Arts 23, no. 1-2 (March 25, 2019): 50–75. http://dx.doi.org/10.1163/15685292-02301003.

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Abstract This essay examines how Don DeLillo employs the apophatic tradition as a means of approaching the transcendent while resisting media absorption and extremist cooptation. Apophatic discourse—discourse that points toward that which is beyond language—honors the dynamic nature of truth, making it well suited to a postmodern, pluralistic era. Yet, apophasis is not just a recognition of the limits of language but a way of approaching the Ultimate that results in personal transformation. DeLillo’s invocation of mystery is often noted but rarely connected to spiritual formation. Yet his work is full of pilgrims disaffected by traditional religion who unavailingly seek spiritual fulfillment elsewhere. I demonstrate that DeLillo offers a standard for discriminating among religious mysteries by chronicling the spiritual etiolation of misguided pilgrims. I then identify apophatic discourse in his work, arguing that DeLillo upholds apophasis as a way of engaging mystery that is self-realizing and redemptive.

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Osganian, Patricia. "Cosmopolis de Don DeLillo : « ville corps » contre capitalisme." Mouvements 39-40, no. 3 (2005): 68. http://dx.doi.org/10.3917/mouv.039.0068.

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26

Zinman, Toby Silverman. "Gone Fission: The Holocaustic Wit of Don DeLillo." Modern Drama 34, no. 1 (March 1991): 74–87. http://dx.doi.org/10.3138/md.34.1.74.

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27

Johnston, John. "Generic Difficulties in the Novels of Don Delillo." Critique: Studies in Contemporary Fiction 30, no. 4 (July 1989): 261–75. http://dx.doi.org/10.1080/00111619.1989.9937877.

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Karnicky, Jeffrey. "Wallpaper Mao: Don DeLillo, Andy Warhol, and Seriality." Critique: Studies in Contemporary Fiction 42, no. 4 (January 2001): 339–56. http://dx.doi.org/10.1080/00111610109601149.

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Vukotic, Aleksandra. "10.5937/kultura1443069v = Don Delillo: The cloud of knowing." Kultura, no. 143 (2014): 69–85. http://dx.doi.org/10.5937/kultura1443069v.

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30

Atchley, J. Heath. "The Loss of Language, The Language of Loss." Janus Head 7, no. 2 (2004): 333–54. http://dx.doi.org/10.5840/jh20047212.

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This essay is a philosophical reading of Don DeLillo’s novel, The Body Artist, and his essay, “In the Ruins of the Future.” Focusing on the issues of loss, mourning, and terror after the attacks of September the 11th, I argue that DeLillo gives a picture of mourning as something that occurs through a loss of language. This loss does not end language; instead, it occurs through language.

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31

Grgas, Stipe. "Don DeLillo’s Mapping of the City." ELOPE: English Language Overseas Perspectives and Enquiries 2, no. 1-2 (June 22, 2005): 127–37. http://dx.doi.org/10.4312/elope.2.1-2.127-137.

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Taking as his point of departure the immense significance the city has for understanding the present moment and the special relationship the city has had with the novel, the author gives a reading of Don DeLillo and the way his work has engaged the city of New York. Focusing upon his last two novels, Underworld and Cosmopolis, the author describes how these two novels narrate the transformations the American city has undergone during the second part of the twentieth century. The bulk of his analysis deals with the function the Prologue flashback of the Bronx has in the earlier novel and the transformed city of late capitalism in his last text. The author concludes his reading by pointing out how DeLillo’s novels not only provide fictional accounts of what has occurred in the urban sphere but how they provide evidence of the difficulty of representing the contemporary world and how they foreground urgent political considerations.

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32

Stengel, Wayne B., and Tom LeClair. "In the Loop: Don DeLillo and the Systems Novel." American Literature 61, no. 1 (March 1989): 132. http://dx.doi.org/10.2307/2926543.

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33

EL, Erden. "NON-HUMAN AGENCIES IN DON DELILLO S WHITE NOISE." Journal of International Social Research 12, no. 64 (June 30, 2019): 35–45. http://dx.doi.org/10.17719/jisr.2019.3328.

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34

Helvacioglu, Banu. "“Modern Death” in Don DeLillo: A Parody of Life?" Mosaic: a journal for the interdisciplinary study of literature 48, no. 2 (2015): 179–96. http://dx.doi.org/10.1353/mos.2015.0018.

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35

Happe, François. "Voix et autorité dans End Zone, de Don DeLillo." Revue Française d'Etudes Américaines 54, no. 1 (1992): 385–93. http://dx.doi.org/10.3406/rfea.1992.1834.

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36

Coyle, John. "Don DeLillo, aesthetic transcendence and the Kitsch of death." European Journal of American Culture 26, no. 1 (May 2, 2007): 27–39. http://dx.doi.org/10.1386/ejac.26.1.27_1.

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37

Price, David W. "Don DeLillo: The Physics of Language (review)." Partial Answers: Journal of Literature and the History of Ideas 2, no. 1 (2004): 204–7. http://dx.doi.org/10.1353/pan.0.0038.

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38

Pritchard, Simon John. "PRACTICAL JOKES: DON DELILLO´S RATNER´S STAR AND LITERARY GAMES." ODISEA. Revista de estudios ingleses, no. 19 (September 30, 2019): 109. http://dx.doi.org/10.25115/odisea.v0i19.2119.

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Los “juegos literarios” son estrategias de escritura empleadas por los escritores para dirigir la atención hacia las convenciones de la producción literaria y de su lectura, alterándolas e incluso desmantelándolas por completo. Don DeLillo emplea estas estrategias en la que probablemente sea su novela más extraña, Ratner´s Star, dondeademás de proporcionar diversión al lector, tienen el efecto práctico de guiarle hacia modos alternativos (y desafiantes) de abordar un texto literario. Este artículo explora los juegos literarios utilizados por DeLillo en su novela Ratner´s Star y estudia algunas implicaciones prácticas que estos juegos, fruto de una revolución transcendental en la teoría lingüística y filosófica, tienen en el concepto mismo de lector.

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LeMahieu, Michael. "The Self-Erasing Word." Poetics Today 41, no. 1 (March 1, 2020): 117–39. http://dx.doi.org/10.1215/03335372-7974128.

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Don DeLillo’s early novels explore the relationship between formal logic and literary form. In End Zone, DeLillo uses tautology as a linguistic tactic of diminishment to advance a larger aesthetic strategy of repleteness. The novel says less to show more. As a result, End Zone, like many of DeLillo’s other early novels, frequently represents states of silence and unspeakability. DeLillo’s early fiction shares these concerns with Ludwig Wittgenstein’s early philosophy, particularly the remarks on tautology, silence, and the limits of language in Tractatus Logico-Philosophicus. In their conclusions, End Zone and the Tractatus analogously seek to undo themselves to overcome the inherent limitations of logic and language.

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Alhwayan, Wasil Ali, and Nasaybah W. Awajan. "The Adaptation of the Western Perspective (Don DeLillo) on Terrorism in Fadia Faqir’s Willow Trees Don’t Weep." Journal of Language Teaching and Research 14, no. 1 (January 1, 2023): 181–89. http://dx.doi.org/10.17507/jltr.1401.19.

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The study aims to identify how the American author, Don DeLillo presents Arab Muslims in his novel Falling Man, likewise explores how the Jordanian-British, Fadia Faqir, presents Arab Muslims by adopting the Western Perspective of them in her novel Willow Trees Don’t Weep. To achieve the objectives of the study, the theory of Post-colonialism is used, and specifically the views of Edward Said on Orientalism are applied to both novels. The study concludes by presenting how both authors - Don DeLillo as a Westerner and Fadia Faqir as an Arab - present their Arab Muslim characters as terrorists in their respective works Falling Man and Willow Trees Don’t Weep.

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Subhi Amer1, Enas, and حنان عباس حسين. "Postmodernism and Technology in Don Delillo's Novel The White Noise." Journal of Education College Wasit University 1, no. 33 (January 24, 2019): 653–76. http://dx.doi.org/10.31185/eduj.vol1.iss33.769.

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This paper aims at investigating the effect of postmodernism and technology on the social life in Don Delillo's novel The White Noise. In this novel, Don Delillo portrays the chaotic life by using modern technology which has been presented by three ways. The first way is by television as being a source of information and entertainment. The second way is by the toxic event whereas the third is by Dylar's episode and its destructive consequences. He depicts that through the atmosphere of Jack's family plus its effects on the life and thoughts of the elders and society. He proves that technology is leading humanity not to safety, but to death. He further highlights that by showing the impact of technology on the life of the main characters in his novel The White Noise.

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M. Ikbal M. Alosman, Raihanah M. M., and Ruzy Suliza Hashim. "Architected Enemies in Don DeLillo’s Falling Man." global journal al thaqafah 9, no. 1 (July 31, 2019): 23–34. http://dx.doi.org/10.7187/gjat072019-2.

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As one of the prominent literary figures in the United States, Don DeLillo (2001) urged novelists to produce a counter-narrative in response to September 2001 attacks. Falling Man (2007) was published six years after the watershed event. This paper aims to investigate DeLillo’s exemplification of Islam and Muslims in the light of post-9/11 discourse on Islam and Muslims. It also seeks to situate the novelist’s depiction of Islam and Muslims within due geopolitical implications. By means of architectures of enmity, the other is deliberately crafted into a discriminated entity whose enemy- like attributes are highlighted and reiterated to serve geopolitical interests in the other and justify violence against him/her. DeLillo’s architected enemies will be studied through three constructs, specifically, ‘difference,’ ‘Islamic agency’ and ‘clashing Islam.’ The first construct, ‘difference,’ inspects how contrast between Muslims and non-Muslims operates within the novel’s architected enmity, while ‘Islamic agency’ focuses on the narrative’s illustration of the associations between Islam, on the one hand, and Muslims’ extremist acts and radical beliefs, on the other. In the third construct, ‘clashing Islam,’ the role of Islam as a conflicting ideology is to be elaborated on as epitomized in the novel. Through means of difference, Muslims are rendered more enemy-like and less humane in DeLillo’s novel. Islam is viewed as the most operative factor in motivating Muslims’ antagonist views and deeds against non-Muslims.

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M. al-Sharqi, Laila. "The Problem of Writing and Representations of Modernity, Postmodernism and Beyond: A Critical Reading in the Novel “Mao II” by Don DeLillo." Al-Dad Journal 5, no. 1 (November 8, 2021): 12–26. http://dx.doi.org/10.22452/aldad.vol5no1.2.

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The American novelist, Don DeLillo, wrote the novel, Mao II (1991), which uses selfhood and identity to foreground the modern/postmodern vision of human nature as a tabula rasa that is constructed by language, society, and culture. This study argues that while the novel’s protagonist, Bill Gray, represents DeLillo’s modernist tendencies, as the character desires to maintain authentic individualism during a fierce struggle with his culture’s collective mindlessness, DeLillo also describes an ambiguous character, whose life and works complexly exhibit and engage with postmodernist features. Jeffry Nealon’s approach to post-postmodernist literature and post-humanist scholarship are utilized in this analysis to provide a clearer understanding on the convergence of these components. Gray is examined as a manifestation of post-postmodernist tendencies, who ultimately reflects the emerging role of embodiment in contemporary cultural discourse. This study not only elucidates the fundamental changes that society currently faces but also provides a closer reading of the novel and its protagonist by incorporating forms of selfhood and identity that extend beyond reductive modernist and postmodernist conceptions to carry elements of post-postmodernist literature.

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Hagan, Andrew Bowie. "The Bounds of Narrative in Don DeLillo’s Underworld: Action and the Ecology of Mimêsis." Humanities 10, no. 1 (February 27, 2021): 40. http://dx.doi.org/10.3390/h10010040.

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The interrelationship of natural and cultural history in Don DeLillo’s Underworld presents an ecology of mimesis. If, as Timothy Morton argues, ecological thought can be understood as a “mesh of interconnection,” DeLillo’s novel studies the interpretation of connection. Underworld situates its action in the Cold War era. DeLillo’s formal techniques examine the tropes of paranoia, containment, excess, and waste peculiar to the history of the Cold War. Parataxis and free-indirect discourse emphasize the contexts of reference in the novel, illustrating how hermeneutics informs the significance of boundaries. DeLillo’s use of parataxis exemplifies the conditions that propose and limit metaphor’s reference to reality, conditions that offer the terms for meaningful action. I utilize Paul Ricoeur’s hermeneutics to demonstrate how Underworld situates the reference to reality in its temporal and narrative condition. The historical situation of the novel’s narrative structure allows DeLillo to interrogate the role of discourse in producing and interpreting connection. Underworld offers layers of significance; the reader’s engagement with the novel’s discourse reaffirms the conditions of a meaningful relationship with reality in the pertinence of a metaphor.

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Sugden, E. "STACEY OLSTER (ed.), Don Delillo: Mao II, Underworld, Falling Man." Notes and Queries 60, no. 3 (July 12, 2013): 471–72. http://dx.doi.org/10.1093/notesj/gjt108.

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DEROSA, AARON. "Don DeLillo, Madison Avenue, and the Aesthetics of Postwar Fiction." Contemporary Literature 59, no. 1 (2018): 49–79. http://dx.doi.org/10.3368/cl.59.1.49.

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Gauthier, Marni J. "Beyond Grief and Nothing: A Reading of Don DeLillo (review)." MFS Modern Fiction Studies 53, no. 4 (2007): 891–95. http://dx.doi.org/10.1353/mfs.2008.0012.

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Pellegrin, Jean-Yves. "Le désordre du discours dans End Zone de Don DeLillo." Revue Française d'Etudes Américaines 76, no. 1 (1998): 63–72. http://dx.doi.org/10.3406/rfea.1998.1729.

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Mahon, Áine, and Fergal McHugh. "Lateness and the Inhospitable in Stanley Cavell and Don DeLillo." Philosophy and Literature 40, no. 2 (2016): 446–64. http://dx.doi.org/10.1353/phl.2016.0030.

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Yehnert, Curtis A. "“ike Some Endless Sky Waking Inside”: Subjectivity in Don DeLillo." Critique: Studies in Contemporary Fiction 42, no. 4 (January 2001): 357–66. http://dx.doi.org/10.1080/00111610109601150.

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Journal articles on the topic 'Don DeLillo'

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