![]() ![]() Gladney’s thought could serve as a short manifesto for DeLillo’s fictional vision. It is like a contract that all must sign, the plotters as well as those who are the targets of the plot.’” Political plots, terrorist plots, lovers’ plots, narrative plots, plots that are part of children’s games. “‘All plots tend to move deathward,’ says Jack Gladney, a professor of Hitler studies and the narrator of “White Noise.” ‘This is the nature of plots. In DeLillo’s work, these forces are always heading toward collapse. His novels are big, and when they flounder, it’s due to a surfeit of the grandiose. ![]() His earlier novels track the forces of American history, society and politics, and the ways in which these forces transform contemporary life. Along with contemporary Thomas Pynchon, he’s the great American paranoiac. ![]() Whether it’s the airborne toxic event in “White Noise” or the hydrogen bomb, his novels quiver with the threat of atrophy and destruction.ĭeLillo is the contemporary saint of eschatological dread. In American fiction, DeLillo has been the owner of the end of the world subgenre. “Everybody wants to own the end of the world,” begins “Zero K,” Don DeLillo’s new novel. ![]()
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