Don DeLillo (born November 20, 1936) is an American author, playwright, and occasional essayist whose work paints a detailed portrait of American life in the late twentieth and early twenty-first centuries. DeLillo's novels have tackled subjects as diverse as television, nuclear war, sports, the complexities of language, performance art, the Cold War, mathematics, the advent of the digital age, and global terrorism. He currently lives near New York City in the suburb of Bronxville.

Quotes more less

"A Catholic is raised with the idea that he will die any minute now and if he doesn't live his life in a certain way, this death is an introduction to an eternity of pain.""America was and is the immigrant's dream.""American writers ought to stand and live in the margins, and be more dangerous.""Californians invented the concept of life-style. This alone warrants their doom.""Every sentence has a truth waiting at the end of it and the writer learns how to know it when he finally gets there.""For me, writing is a concentrated form of thinking.""Hardship makes the world obscure.""I felt Joyce was an influence on my fiction, but in a very general way, as a kind of inspiration and a model for the beauty of language.""I like the construction of sentences and the juxtaposition of words-not just how they sound or what they mean, but even what they look like.""I quit my job just to quit. I didn't quit my job to write fiction. I just didn't want to work anymore.""I saw a photograph of a wedding conducted by Reverend Moon of the Unification Church. I wanted to understand this event, and the only way to understand it was to write about it.""I slept for four years. I didn't study much of anything. I majored in something called communication arts.""I think a playwright realizes after he finishes working on the script that this is only the beginning. What will happen when it moves into three dimensions?""I think more than writers, the major influences on me have been European movies, jazz, and Abstract Expressionism.""I think there is a sense of last things in my work that probably comes from a Catholic childhood.""I watch movies occasionally, and I watch documentaries. Virtually nothing else.""I've always liked being relatively obscure. I feel that's where I belong, that's where my work belongs.""I've always seen myself in sentences. I begin to recognize myself, word by word, as I work through a sentence.""I've come to think of Europe as a hardcover book, America as the paperback version.""If I were a writer, how I would enjoy being told the novel is dead. How liberating to work in the margins, outside a central perception. You are the ghoul of literature. Lovely.""In a repressive society, a writer can be deeply influential, but in a society that's filled with glut and repetition and endless consumption, the act of terror may be the only meaningful act.""In the face of technology, everything becomes a little atavistic.""It occured to me that eating is the only form of professionalism most people ever attain.""It's no accident that my first novel was called Americana. This was a private declaration of independence, a statement of my intention to use the whole picture, the whole culture.""May the days be aimless. Do not advance action according to a plan.""Men with secrets tend to be drawn to each other, not because they want to share what they know but because they need the company of the like-minded, the fellow afflicted.""Never underestimate the power of the State to act out its own massive fantasies.""One truth is the swing of the sentence, the beat and poise, but down deeper it's the integrity of the writer as he matches with the language.""People who are in power make their arrangements in secret, largely as a way of maintaining and furthering that power.""People who are powerless make an open theater of violence.""People will always make comparisons.""Rushdie is a hostage.""Silence, exile, cunning and so on... it's my nature to keep quiet about most things. Even the ideas in my work.""The future belongs to crowds.""The language of my books has shaped me as a man.""The modern meaning of life's end-when does it end? How does it end? How should it end? What is the value of life? How do we measure it?""The writer is the person who stands outside society, independent of affiliation and independent of influence.""There's a connection between the advances that are made in technology and the sense of primitive fear people develop in response to it.""There's a moral force in a sentence when it comes out right. It speaks the writer's will to live.""There's always a period of curious fear between the first sweet-smelling breeze and the time when the rain comes cracking down.""True terror is a language and a vision. There is a deep narrative structure to terrorist acts, and they infiltrate and alter consciousness in ways that writers used to aspire to.""When you try to unravel something you've written, you belittle it in a way. It was created as a mystery.""Writers in repressive societies are considered dangerous. That's why so many of them are in jail."

Early Life more less

DeLillo was born on November 20, 1936 and grew up in a working-class Italian Catholic family in an Italian-American neighborhood of the Bronx in New York City, not far from Arthur Avenue. Reflecting on his childhood in The Bronx, DeLillo later described how he was "...always out in the street. As a little boy I whiled away most of my time pretending to be a baseball announcer on the radio. I could think up games for hours at a time. There were eleven of us in a small house, but the close quarters were never a problem. I didn't know things any other way. We always spoke English and Italian all mixed up together. My grandmother, who lived in America for fifty years, never learned English."

As a teenager, DeLillo wasn't interested in writing until taking a summer job as a parking attendant, where hours spent waiting and watching over vehicles led to a reading habit. In a 2010 interview with The Australian, DeLillo reflected on this period by saying "I had a personal golden age of reading, in my 20s and my early 30s, and then my writing began to take up so much time". Among the writers DeLillo read and was inspired by in this period were James Joyce, William Faulkner, Flannery O'Connor, and Ernest Hemingway, who was a major influence on DeLillo's earliest attempts at writing in his late teens.

After graduating from Fordham University in the Bronx with a bachelor's degree in Communication Arts in 1958, DeLillo took a job in advertising because he couldn't get one in publishing. He worked for five years as a copywriter at the agency of Ogilvy & Mather on Fifth Avenue at East 48th Street, writing image ads for Sears Roebuck among others, working on “Print ads, very undistinguished accounts...I hadn’t made the leap to television. I was just getting good at it when I left," before he quit in 1964. DeLillo published his first short story, "The River Jordan", in Epoch, the literary magazine of Cornell University, in 1960 and began to work on his first novel in 1966. Discussing the beginning of his writing career, DeLillo said, "I did some short stories at that time, but very infrequently. I quit my job just to quit. I didn't quit my job to write fiction. I just didn't want to work anymore."Reflecting on his relatively late start in writing fiction in 1993, DeLillo said "I wish I had started earlier, but evidently I wasn’t ready. First, I lacked ambition. I may have had novels in my head but very little on paper and no personal goals, no burning desire to achieve some end. Second, I didn’t have a sense of what it takes to be a serious writer. It took me a long time to develop this."

Novels of the 1970s more less

DeLillo's inaugural decade of novel writing has been his most productive to date, resulting in the writing and publication of six novels in eight years between 1971-1978.

After he quit the advertising industry in 1964, DeLillo began to write his first novel. He later reflected: "...I lived in a very minimal kind of way. My telephone would be $4.30 every month. I was paying a rent of sixty dollars a month. And I was becoming a writer. So in one sense, I was ignoring the movements of the time." DeLillo's first novel, Americana, was written over the course of four years and finally published in 1971, to modest critical praise. Americana concerned "a television network programmer who hits the road in search of the big picture". This novel was later revised by DeLillo in 1989 for paperback re-printing. Reflecting on the novel later in his career, DeLillo admitted "I don't think my first novel would have been published today as I submitted it. I don't think an editor would have read 50 pages of it. It was very overdone and shaggy, but two young editors saw something that seemed worth pursuing and eventually we all did some work on the book and it was published."

Americana was followed in rapid succession by the American college football/nuclear war black comedy End Zone (1972) and the rock and roll satire Great Jones Street (1973), which DeLillo later felt was "...one of the books I wish I’d done differently. It should be tighter, and probably a little funnier." In 1975, he married Barbara Bennett, a former banker turned landscape designer.

DeLillo's fourth novel, Ratner's Star (1976), took two years to write and drew numerous favorable comparisons to the works of Thomas Pynchon. This "conceptual monster", as DeLillo scholar Tom LeClair describes it, is "the picaresque story of a 14-year-old math genius who joins an international consortium of mad scientists decoding an alien message." and has been cited by DeLillo as both one of the most difficult books to write and his personal favourite of his own novels.

Following this early attempt at a major long novel, DeLillo ended the decade with two shorter works. Players (1977) concerned the lives of a young yuppie couple as they get involved with a cell of domestic terrorists, and Running Dog (1978), written in a brief four month streak, was a thriller concerning numerous individuals hunting down a celluloid reel of Adolf Hitler's sexual exploits.

In 1979, DeLillo was awarded the Guggenheim Fellowship, which he used to fund a trip around the Middle East before settling in Greece.

Reflecting on his first six novels and his rapid writing turnover later in his career, DeLillo remarked, "I wasn't learning to slow down and examine what I was doing more closely. I don't have regrets about that work, but I do think that if I had been a bit less hasty in starting each new book, I might have produced somewhat better work in the 1970s. My first novel took so long and was such an effort that once I was free of it I almost became carefree in a sense and moved right through the decade, stopping, in a way, only at Ratner's Star (1976), which was an enormous challenge for me, and probably a bigger challenge for the reader. But I slowed down in the 1980s and 90s." DeLillo has also acknowledged some of the weaknesses of his 1970's works, reflecting in 2007: "I knew I wasn’t doing utterly serious work, let me put it that way."

Novels of the 1980s more less

The beginning of the 1980s saw the most unusual and uncharacteristic publication in DeLillo's career. The sports novel Amazons, a mock memoir of the first woman to play in the National Hockey League, is a far more light hearted and more evidently commercial novel than his previous and subsequent novels. DeLillo published the novel under the pseudonym Cleo Birdwell, and later requested publishers compiling a bibliography for a reprint of a later novel to expunge the novel from their lists.

While DeLillo spent several years living in Greece, he took three years to write The Names (1982), a complex thriller concerning "a risk analyst who crosses paths with a cult of assassins in the Middle East". While lauded by an increasing number of literary critics, DeLillo was still relatively unknown outside of small academic circles and did not reach a wide readership with this novel. Also in 1982, DeLillo finally broke his self-imposed ban on media coverage by giving his first major interview to Tom LeClair, who had first tracked DeLillo down for an interview while he was in Greece in 1979 (on that occasion, DeLillo had handed LeClair a business card with his name printed on it and beneath that the message "I don't want to talk about it.")

With the publication of his eighth novel White Noise in 1985, DeLillo began a rapid ascendancy to being a noted and respected novelist. White Noise was arguably a major breakthrough both commercially and artistically for DeLillo, earning him a National Book Award and a place among the academic canon of contemporary postmodern novelists. DeLillo remained as detached as ever from his growing reputation: when called upon to give an acceptance speech for the Award, he simply said, "I'm sorry I couldn't be here tonight, but I thank you all for coming," and then sat down. The influence and impact of White Noise can be seen in the writing of such authors as David Foster Wallace, Jonathan Lethem, Jonathan Franzen, Dave Eggers, Martin Amis, Zadie Smith and Richard Powers (who provides an introduction to the 25th Anniversary edition of the novel).

DeLillo followed White Noise with Libra (1988), a speculative fictionalised take on the life of Lee Harvey Oswald up to the 1963 assassination of John F. Kennedy. For this novel DeLillo undertook a vast research project, which included reading at least half of the Warren Report (subsequently DeLillo described as "...the Oxford English Dictionary of the assassination and also the Joycean novel. This is the one document that captures the full richness and madness and meaning of the event, despite the fact that it omits about a ton and a half of material.") Originally written with the working title of either "American Blood" or "Texas School Book," Libra became an international bestseller, earned DeLillo another nomination for the National Book Award, and won the Irish Times Aer Lingus International Fiction Prize the following year. The novel also elicited fierce critical division, with some critics praising DeLillo's take on the Kennedy assassination while others decried it. George Will, in a Washington Post article, declared the book to be an affront to America and "an act of literary vandalism and bad citizenship."

Novels of the 1990s more less

DeLillo's concerns about the position of the novelist and the novel in a media- and terrorist-dominated society were made clear in his next novel, Mao II (1991). Clearly influenced by the events surrounding the fatwa placed upon the author Salman Rushdie and the intrusion of the press into the life of the reclusive writer JD Salinger, Mao II earned DeLillo significant critical praise from, among others, fellow authors John Banville and Thomas Pynchon. He earned a PEN/Faulkner Award and a Pulitzer Prize finalist nomination for Mao II in 1991 and 1992, respectively.

Following Mao II, DeLillo went to ground and spent several years writing and researching his eleventh novel. Aside from the publication of a folio short story entitled 'Pafko at the Wall' in a 1992 edition of Harpers Magazine, and one short story in 1995, little was seen or heard of him for a number of years.

In 1997, DeLillo finally broke cover with his long awaited eleventh novel, the epic Cold War history Underworld. The book was widely heralded as a masterpiece, with novelist and critic Martin Amis saying it marked "the ascension of a great writer." Underworld went on to become DeLillo's most acclaimed novel to date, achieving mainstream success and earning nominations for the National Book Award, the New York Times Best Books of the Year award in 1997, and a second Pulitzer Prize for Fiction nomination in 1998. The novel went on to win the 1998 American Book Award, the 1999 Jerusalem Prize, and both the William Dean Howells Medal and "Riccardo Bacchelli" International Award in 2000. It was a runner-up in The New York Times' survey of the best American fiction of the last 25 years (announced in May, 2006). White Noise and Libra were also recognized by the anonymous jury of contemporary writers.

DeLillo has subsequently expressed surprise at the success of the novel. In 2007, he candidly remarked: "When I finished with Underworld, I didn't really have any all-too-great hopes, to be honest. It's some pretty complicated stuff: 800 pages, more than 100 different characters -- who's going to be interested in that?"After re-reading it again in 2010, over ten years after its publication, DeLillo commented that re-reading it "...made me wonder whether I would be capable of that kind of writing now ... the range and scope of it. There are certain parts of the book where the exuberance, the extravagance, I don’t know, the overindulgence... There are city scenes in New York that seem to transcend reality in a certain way.”

Novels of the 2000s more less

Novels of the 2010s more less

DeLillo published Point Omega as his fifteenth novel under his own name in February of 2010. According to DeLillo, the novel considers an idea from "...the writing of the Jesuit thinker and paleontologist [Pierre] Teilhard de Chardin." The 'Omega Point' of the title "...[is] the possible idea that human consciousness is reaching a point of exhaustion and that what comes next may be either a paroxysm or something enormously sublime and unenvisionable." Reviews thus far have been incredibly polarised, with some saying the novel is a return to form and innovative, while others have complained about the novel's brevity and apparent lack of plot and engaging characters. Upon its initial release, Point Omega spent one week on the New York Times Bestseller List, peaking at #35 on the extended version of the list during its one week stay on the list.

In a January 29, 2010 interview with the Wall Street Journal, DeLillo discussed Point Omega, his views of writing and his plans for the future at great length. When asked about why his recent novels had been shorter, DeLillo replied, "Each book tells me what it wants or what it is, and I'd be perfectly content to write another long novel. It just has to happen." While DeLillo is open to the idea of returning to the form of the long novel, the interview also revealed that he currently has no interest in doing as many of his literary contemporaries have done and writing a memoir. DeLillo also made some observations on the state of literature and the challenges facing young writers:

"It's tougher to be a young writer today than when I was a young writer. I don't think my first novel would have been published today as I submitted it. I don't think an editor would have read 50 pages of it. It was very overdone and shaggy, but two young editors saw something that seemed worth pursuing and eventually we all did some work on the book and it was published. I don't think publishers have that kind of tolerance these days, and I guess possibly as a result, more writers go to writing class now than then. I think first, fiction, and second, novels, are much more refined in terms of language, but they may tend to be too well behaved, almost in response to the narrower market."

However, in a February 21, 2010 interview with The Times newspaper, DeLillo re-affirmed his belief in the validity and importance of the novel in a technology and media driven age, offering a more optimistic opinion of the future of the novel than his contemporary Philip Roth had done in a recent interview:

“It is the form that allows a writer the greatest opportunity to explore human experience...For that reason, reading a novel is potentially a significant act. Because there are so many varieties of human experience, so many kinds of interaction between humans, and so many ways of creating patterns in the novel that can’t be created in a short story, a play, a poem or a movie. The novel, simply, offers more opportunities for a reader to understand the world better, including the world of artistic creation. That sounds pretty grand, but I think it’s true.”

DeLillo is set to receive the St. Louis Literary Award for his entire body of work to date on October 21, 2010. Previous recipients include Salman Rushdie, E.L. Doctorow, John Updike, William Gass, Joyce Carol Oates, Joan Didion and Tennessee Williams.

Plays more less

Themes and Criticism more less

DeLillo is widely considered by modern critics to be one of the central figures of literary postmodernism. He has said the primary influences on his work and development are "abstract expressionism, foreign films, and jazz." Many of DeLillo's books (notably White Noise) satirize academia and explore postmodern themes of rampant consumerism, novelty intellectualism, underground conspiracies, the disintegration and re-integration of the family, and the promise of rebirth through violence. In several of his novels, DeLillo explores the idea of the increasing visibility and effectiveness of terrorists as societal actors and, consequently, the displacement of what he views to be artists', and particularly novelists', traditional role in facilitating social discourse (Players, Mao II, Falling Man). Another perpetual theme in DeLillo's books is the saturation of mass media and its role in forming simulacra which serve to remove an event from its context and alter or drain its inherent meaning (see the highway shooter in Underworld, the televised disasters longed for in White Noise, the planes in Falling Man, the evolving story of the interviewee in Valparaiso). The psychology of crowds and the capitulation of individuals to group identity is a theme DeLillo examines in several of his novels, especially in the prologue to Underworld, Mao II, and Falling Man. In a 1993 interview with Maria Nadotti, DeLillo explained

Many younger English-language authors such as Bret Easton Ellis, Jonathan Franzen and David Foster Wallace have cited DeLillo as an influence. Literary critic Harold Bloom named him as one of the four major American novelists of his time, along with Thomas Pynchon, Philip Roth, and Cormac McCarthy, though he questions the classification of DeLillo as a "postmodern novelist." Asked if he approves of this designation, DeLillo has responded: "I don't react. But I'd prefer not to be labeled. I'm a novelist, period. An American novelist."

Critics of DeLillo allege that his novels are overly stylized and intellectually shallow. Bruce Bawer famously condemned DeLillo's novels insisting they weren't actually novels at all but "tracts, designed to batter us, again and again, with a single idea: that life in America today is boring, benumbing, dehumanized...It's better, DeLillo seems to say in one novel after another, to be a marauding murderous maniac...and therefore a human...than to sit still for America as it is, with its air conditioners, assembly lines, television sets, supermarkets, synthetic fabrics, and credit cards." George Will proclaimed the study of Lee Harvey Oswald in Libra as "sandbox existentialism" and "an act of literary vandalism and bad citizenship." DeLillo responded "I don't take it seriously, but being called a 'bad citizen' is a compliment to a novelist, at least to my mind. That's exactly what we ought to do. We ought to be bad citizens. We ought to, in the sense that we're writing against what power represents, and often what government represents, and what the corporation dictates, and what consumer consciousness has come to mean. In that sense, if we're bad citizens, we're doing our job." DeLillo also figured prominently in B. R. Myers' critique of recent American literary fiction, A Reader's Manifesto.

Works more less

Novels

Americana (1971)
End Zone (1972)
Great Jones Street (1973)
Ratner's Star (1976)
Players (1977)
Running Dog (1978)
Amazons (1980) (under pseudonym "Cleo Birdwell")
The Names (1982)
White Noise (1985)
Libra (1988)
Mao II (1991)
Underworld (1997) (see also Pafko at the Wall, the prologue of Underworld which was published separately in Harper's in Oct. 1992)
The Body Artist (2001)
Cosmopolis (2003)
Falling Man (2007)
Point Omega (2010)

Short stories

"The River Jordan" (1960) (First published in Epoch 10, No. 2 (Winter 1960), pp. 105—120.)
"Take the 'A' Train" (1962) (First published in Epoch 12, No. 1 (Spring 1962) pp. 9—25.)
"Spaghetti and Meatballs" (1965) (First published in Epoch 14, No. 3 (Spring 1965) pp. 244—250)
"Coming Sun.Mon.Tues." (1966) (First published in Kenyon Review 28, No. 3 (June 1966), pp. 391—394.)
"Baghdad Towers West" (1967) (First published in Epoch 17, 1968, pp. 195—217.)
"The Uniforms" (1970) (First published in Carolina Quarterly 22, 1970, pp. 4—11.)
"In the Men's Room of the Sixteenth Century" (1971) (First published in Esquire, Dec. 1971, pp. 174—177, 243, 246.)
"Total Lost Weekend" (1972) (First published in Sports Illustrated, Nov. 27, 1972, pp. 98—101+)
"Creation" (1979) (First published in Antaeus No. 33, Spring 1979, pp. 32—46.)
"The Sightings" (1979) (First published in Weekend Magazine (Summer Fiction Issue, out of Toronto), August 4, 1979, pp. 26—30.)
"Human Moments in World War III" (1983) (First published in Esquire, July 1983, pp. 118—126.)
"The Ivory Acrobat" (1988) (First published in Granta 25, Autumn 1988, pp. 199—212.)
"The Runner" (1988) (First published in Harper's, Sept. 1988, pp. 61—63.)
"Pafko at the Wall" (1992) (First published in Harper's, Oct. 1992, pp. 35—70.)
"The Angel Esmeralda" (1995) (First published in Esquire, May 1994, pp. 100—109.)
"Baader-Meinhof" (2002) (First published in New Yorker, 1 April 2002, pp. 78—82.)
"Still Life" (2007) (First published in New Yorker, April 9, 2007)
"Midnight in Dostoevsky" (2009) (First Published in New Yorker, November 30, 2009)

Plays

The Day Room (first production 1986)
Valparaiso (first production 1999)
Love-Lies-Bleeding (first production 2005)
The Word for Snow (first production in 2007)

Screenplays

Game 6 (2005)

Game 6, the story of a playwright (played by Michael Keaton) and his obsession with the Boston Red Sox and the 1986 World Series, was written in the early 90s, but wasn't produced until 2005, ironically one year after the Red Sox won their first World Series title in 86 years. To date, it is DeLillo's only work for film.

Significant essays

"American Blood: A Journey through the Labyrinth of Dallas and JFK" (1983) (Published in Rolling Stone, Dec. 8, 1983. DeLillo's first major published essay. Seen as signposting his interest in the JFK assassination that would ultimately lead to Libra)
"Salman Rushdie Defense" (1994) (Co-written with Paul Auster in defense of Salman Rushdie following the announcement of a fatwa upon him after the publication of The Satanic Verses)
"The Artist Naked in a Cage" (1997)(A short piece ran in The New Yorker on May 26, 1997, pages 6—7. An address delivered on May 13, 1997 at the New York Public Library's event "Stand In for Wei Jingsheng.")
"The Power of History" (1997) (Published in the Sept. 7, 1997 issue of the New York Times Magazine. Preceded the publication of Underworld and was viewed by many as a rationale for the novel)
"A History of the Writer Alone in a Room" (1999) (This piece is the acceptance address given by DeLillo on the occasion of being awarded the Jerusalem Prize in 1999. A small pamphlet was printed with this address, an address by Scribner editor-in-chief Nan Graham, the Jury's Citation and an address by Jerusalem mayor Ehud Olmert. It was reprinted in a German translation in Die Zeit in 2001. The piece is in five numbered sections, and is about five pages long.)
"In the Ruins of the Future" (Dec 2001) (This short essay appeared in Harper's magazine, December 2001 issue, pages 33—40. It concerns the Sept 11 incidents, terrorism, and America. It consists of eight numbered sections.)

Books about DeLillo

Bloom, Harold (ed.), Don DeLillo (Bloom's Major Novelists), Chelsea House, 2003.
Boxall, Peter, Don DeLillo: The Possibility of Fiction, Routledge, 2006.
Civello, Paul, American Literary Naturalism and its Twentieth-century Transformations: Frank Norris, Ernest Hemingway, Don DeLillo, University of Georgia Press, 1994.
Cowart, David, Don DeLillo - The Physics of Language, University of Georgia Press, 2002.
Dewey, Joseph, Beyond Grief and Nothing: A Reading of Don DeLillo, University of South Carolina Press, 2006.
Dewey, Joseph (ed.), Kellman, Steven G. (ed.), Malin, Irving (ed.), Underwords: Perspectives on Don DeLillo's Underworld, University of Delaware Press, 2002.
Duvall, John, Don DeLillo's Underworld: A Reader's Guide, Continuum International Publishing Group, 2002.
Duvall, John (ed.), The Cambridge Companion to Don DeLillo, Cambridge UP, 2008
Engles, Tim (ed.), Duvall, John (ed.), Approaches to Teaching DeLillo's White Noise, Modern Language Association Press, 2006.
Halldorson, Stephanie, The Hero in Contemporary American Fiction: The Works of Saul Bellow and Don DeLillo, 2007.
Hantke, Steffen, Conspiracy and Paranoia in Contemporary American Fiction: The works of Don DeLillo and Joseph McElroy, Peter Lang Publishing, 1994.
Kavadlo, Jesse, Don DeLillo: Balance at the Edge of Belief, Peter Lang Publishing, 2004.
Keesey, Douglas, Don DeLillo, Macmillan, 1993.
Laist, Randy, Technology and Postmodern Subjectivity in Don DeLillo's Novels, Peter Lang Publishing, 2010.
LeClair, Tom In the Loop - Don DeLillo and the Systems Novel, University of Illinois Press, 1987.
Lentricchia, Frank (ed.), Introducing Don DeLillo, Duke University Press, 1991.
Lentricchia, Frank (ed.), New Essays on White Noise, Cambridge University Press, 1991.
Martucci, Elise, The Environmental Unconscious in the Fiction of Don DeLillo, Routledge, 2007.
Morley, Catherine, The Quest for Epic in Contemporary American Literature, Routledge, New York, 2008.
Orr, Leonard, White Noise: A Reader's Guide Continuum International Publishing Group, 2003.
Osteen, Mark American Magic and Dread: Don DeLillo's Dialogue with Culture, University of Pennsylvania Press, 2000.
Ruppersburg, Hugh (ed.), Engles, Tim (ed.), Critical Essays on Don DeLillo, G.K. Hall, 2000.
Schuster, Marc "Don DeLillo, Jean Baudrillard, and the Consumer Conundrum", Cambria Press, 2008
Weinstein, Arnold, Nobody's Home: Speech, Self, and Place in American Fiction From Hawthorne to DeLillo, Oxford University Press, 1993.

Awards and Award Nominations more less

References in Popular Culture more less

This author page uses material from the Wikipedia article "Don DeLillo", which is released under the Creative Commons Attribution-Share-Alike License 3.0

Total Books: 246

Chronological List
Alphabetical List
Available Only List

2016 - Zero K (Audio CD) → Paperback, Hardcover
ISBN-13: 9781508211778
ISBN-10: 1508211779
Genre: Literature & Fiction

2010 - Point Omega (Paperback) → Paperback, Hardcover, Audio CD
ISBN-13: 9781439169964
ISBN-10: 1439169969
Genre: Literature & Fiction

Currently 3.4/5 Stars.

2010 - Point Omega (Hardcover) → Paperback, Hardcover, Audio CD
ISBN-13: 9781439169957
ISBN-10: 1439169950
Genre: Literature & Fiction

Currently 2.8/5 Stars.

2007 - Falling Man [Audio CD - Unabridged] (Audio CD) → Audio CD
ISBN-13: 9780743567183
ISBN-10: 0743567188
Genre: Literature & Fiction

Currently 2.3/5 Stars.

2007 - Falling Man (Hardcover) → Paperback, Hardcover
ISBN-13: 9781416546023
ISBN-10: 1416546022
Genre: Literature & Fiction

Currently 2.8/5 Stars.

2001 - The Body Artist (Hardcover) → Paperback, Hardcover, Audio Cassette, Audio CD
ISBN-13: 9780743203951
ISBN-10: 074320395X
Genre: Literature & Fiction

Currently 3/5 Stars.

2001 - The Body Artist (Audio Cassette) → Paperback, Hardcover, Audio CD
ISBN-13: 9780743518154
ISBN-10: 0743518152
Genre: Literature & Fiction

Currently 3.2/5 Stars.

1986 - White Noise (Paperback) → Paperback, Hardcover, Audio Cassette
ISBN-13: 9780140077025
ISBN-10: 0140077022
Genre: Literature & Fiction

Currently 3.4/5 Stars.

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