Documente Academic
Documente Profesional
Documente Cultură
WORK
Second, I didnt have a sense of what it takes to be a se- cording to DeLillo is structure[d] [...] on the writings
rious writer. It took me a long time to develop this.[15]
of Lewis Carroll, in particular Alice in Wonderland and
Alice Through the Looking Glass[4] took two years to
write[15] and drew numerous favorable comparisons to the
works of Thomas Pynchon. This conceptual monster,
2 Work
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
2.1 1970s
an alien message.[19] and has been cited by DeLillo as
[20]
and his
DeLillos inaugural decade of novel writing has been his both one of the most dicult books to write
personal
favorite
of
his
own
novels.
most productive to date, resulting in the writing and publication of six novels in eight years between 1971 and Following this early attempt at a major long novel,
1978.[7]
DeLillo ended the decade with two shorter works. Players
In 1964, DeLillo resigned from the advertising indus- (1977), originally conceived as being "[...] based on what
What peotry, moved into a modest apartment near the Queens- could be called the intimacy of language.
[21]
ple
who
live
together
really
sound
like,
concerned
Midtown Tunnel (It wasnt Paris in the 1920s, but I was
the
lives
of
a
young
yuppie
couple
as
the
husband
gets
happy DeLillo has said of this time), and began work on
[21]
[16]
involved
with
a
cell
of
domestic
terrorists.
Its
1978
his rst novel. Reecting on the early days of his writwritten in a brief fouring career, DeLillo remarked: "...I lived in a very min- successor, Running Dog (1978),
[13]
month
streak
of
writing,
was
a thriller concerning
imal kind of way. My telephone would be $4.20 every
numerous
individuals
hunting
down
a celluloid reel of
month. I was paying a rent of sixty dollars a month. And
Hitlers
sexual
exploits.
Of
Running
Dog, DeLillo reI was becoming a writer. So in one sense, I was ignor[13]
marked
in
his
'Rolling
Stone
interview
that What I was
ing the movements of the time. DeLillos rst novel,
[5] really getting at in Running Dog was a sense of the terriAmericana, was written over the course of four years
and nally published in 1971, to modest critical praise. ble acquisitiveness in which we live, coupled with a nal
Americana concerned a television network programmer indierence to the object. After all the mad attempts to
who hits the road in search of the big picture.[5] This acquire the thing, everyone suddenly decides that, well,
novel was later revised by DeLillo in 1989 for paperback maybe we really don't care about this so much anyway.
re-printing. Reecting on the novel later in his career, This was something I felt characterized our lives at the
I
DeLillo admitted, I don't think my rst novel would have time the book was written, in the mid to late seventies.
[22]
think
this
was
part
of
American
consciousness
then.
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.[17] Later still,
DeLillo still felt a degree of surprise at Americana being published, noting I was working on my rst novel,
'Americana,' for two years before I ever realized that I
could be a writer [...] I had absolutely no assurance that
this book would be published because I knew that there
were elements that I simply didn't know how to improve
at that point. So I wrote for another two years and nished the novel. It wasnt all that dicult to nd a publisher, to my astonishment. I didn't have a representative.
I didnt know anything about publishing. But an editor at
Houghton Miin read the manuscript and decided that
this was worth pursuing.[11]
In 1978, DeLillo was awarded the Guggenheim Fellowship, which he used to fund a trip around the Middle East
before settling in Greece, where he would write his next
novels Amazons and The Names.[7]
Reecting on his rst 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 rst novel took so long and was
such an eort 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 Ratners 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.[7] DeLillo has also acknowledged some
of the weaknesses of his 1970s works, reecting in 2007:
I knew I wasnt doing utterly serious work, let me put it
that way.[13]
Americana was followed in rapid succession by the American college football/nuclear war black comedy End
Zone (1972) written under the working-titles The SelfErasing Word and Modes of Disaster Technology[18]
and the rock and roll satire Great Jones Street (1973),
which DeLillo later felt was "...one of the books I wish
Id done dierently. It should be tighter, and probably a 2.2 1980s
little funnier.[13] In 1975, he married Barbara Bennett, a
former banker turned landscape designer.
The beginning of the 1980s saw the most unusual and unDeLillos fourth novel, Ratners Star (1976) which ac- characteristic publication in DeLillos career. The sports
2.3
1990s
3
nalists for the National Book Award,[28] and winner of
the next years Irish Times Aer Lingus International Fiction Prize. The novel also elicited erce critical division,
with some critics praising DeLillos take on the Kennedy
assassination while others decried it. George Will, in a
Washington Post article,[29] declared the book to be an affront to America and an act of literary vandalism and bad
citizenship.[29] DeLillo has frequently reected on the
signicance of the Kennedy assassination to not only his
own work but American culture and history as a whole,
remarking in one 2005 interview November 22nd 1963
marked the real beginning of the 1960s. It was the beginning of a series of catastrophes: political assassinations,
the war in Vietnam, the denial of Civil Rights and the
revolts that occasioned, youth revolt in American cities,
right up to Watergate. When I was starting out as a writer
it seemed to me that a large part of the material you could
nd in my novels this sense of fatality, of widespread
suspicion, of mistrust came from the assassination of
JFK.[10]
2.3 1990s
DeLillos 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 inuenced 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 J.
D. Salinger,[5] Mao II earned DeLillo signicant critical
praise from, among others, fellow authors John Banville
and Thomas Pynchon. He earned a PEN/Faulkner Award
and a Pulitzer Prize nalist 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 nally 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.[30] Underworld went on to become
DeLillos most acclaimed novel to date, achieving mainstream success and earning nominations for the National
Book Award[31] and the New York Times Best Books of
the Year 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 2006 New York Times survey of the best American
ction of the last 25 years. 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 nished with Underworld, I didn't really have any alltoo-great hopes, to be honest. Its some pretty complicated stu: 800 pages, more than 100 dierent characters whos going to be interested in that?"[6] After rereading 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 dont
know, the overindulgence... There are city scenes in New
York that seem to transcend reality in a certain way.[12]
2.4
2000s
WORK
I'd almost nished writing the book when the attacks took
place, and so they couldn't have had any inuence on the
books conception, nor on its writing. Perhaps for certain
readers this upset their expectations.[10] However, subsequently critical opinions have been revised, the novel
latterly being seen as prescient for its views on the aws
and weaknesses of the international nancial system and
cybercapital.
DeLillos papers were acquired in 2004 by the Harry
Ransom Humanities Research Center at the University
of Texas at Austin,[33] reputedly for half a million
dollars.[18] There are "[one] hundred and twenty-ve
boxes of DeLillo materials, including various drafts and
correspondence.[18] Of his decision to donate his papers
to the Ransom Center, DeLillo is quoted in a fax to curator Tom Staley as explaining his donation being motivated
by the following: "I ran out of space and also felt, as one
does at a certain age, that I was running out of time. I
didnt want to leave behind an enormous mess of papers
for family members to deal with. Of course, Ive since
produced more paper novel, play, essay, etc. and so
the cycle begins again.[18]
DeLillo returned with what would turn out to be his nal novel of the decade with Falling Man in May 2007.
The novel concerned the impact on one family of the
9/11 terrorist attacks on the World Trade Center in New
York, "...an intimate story which is encompassed by a
global event.[6] According to a 2007 interview in Die
Zeit, DeLillo claims that originally he "...didn't ever want
to write a novel about 9/11. and "...had an idea for a
dierent book which he had been working on for half
a year in 2004 when he came up with an idea for the
novel, beginning work on the novel following the reelection of George W. Bush that November.[6] Although
highly anticipated and eagerly awaited by critics, who felt
that DeLillo was one of the contemporary writers best
equipped to tackle the events of 9/11 in novelistic form,
the novel met with a mixed critical reception and garnered
no major literary awards or nominations. DeLillo, however, remained unconcerned by this relative lack of critical acclaim, remarking in 2010, In the 1970s, when I
started writing novels, I was a gure in the margins, and
thats where I belonged. If Im headed back that way,
thats ne with me, because thats always where I felt I belonged. Things changed for me in the 1980s and 1990s,
but Ive always preferred to be somewhere in the corner
of a room, observing.[12]
On April 25, 2009, DeLillo received another signicant
literary award, the 2009 Common Wealth Award for Literature, given by PNC Bank of Delaware.[34]
On July 24, 2009, Entertainment Weekly announced that
the director David Cronenberg (A History of Violence,
Naked Lunch) would write a screenplay adaptation of
Don DeLillos 2003 novel Cosmopolis, with a view to
eventually direct.[35] Cosmopolis, eventually released in
2012, became the rst direct adaptation for the screen of
2.5
2010s
5
rst 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 rst, ction,
and second, novels, are much more rened in
terms of language, but they may tend to be too
well behaved, almost in response to the narrower market.[17]
DeLillo ended the decade by making an unexpected appearance at a PEN event on the steps of the New York
City Public Library, 5th Ave and 42nd St in support of
Chinese dissident writer Liu Xiaobo, who was sentenced
to eleven years in prison for inciting subversion of state However, in a February 21, 2010, interview with The
power on December 31, 2009.[37]
Times newspaper, DeLillo re-armed his belief in the
validity and importance of the novel in a technology- and
media-driven age, oering a more optimistic opinion of
2.5 2010s
the future of the novel than his contemporary Philip Roth
had done in a recent interview:
DeLillo published Point Omega, his fteenth novel, in
February 2010. According to DeLillo, the novel conIt is the form that allows a writer the
siders an idea from "...the writing of the Jesuit thinker
[17]
greatest
opportunity to explore human experiand paleontologist [Pierre] Teilhard de Chardin. The
ence...For
that reason, reading a novel is po'Omega Point' of the title "...[is] the possible idea that
tentially
a
signicant
act. Because there are so
human consciousness is reaching a point of exhaustion
many
varieties
of
human
experience, so many
and that what comes next may be either a paroxysm or
[17]
kinds
of
interaction
between
humans, and so
something enormously sublime and unenvisionable.
many
ways
of
creating
patterns
in the novel
Point Omega is DeLillos shortest novel to date, and he
that
cant
be
created
in
a
short
story,
a play,
has said it could be considered as a companion piece to
a
poem
or
a
movie.
The
novel,
simply,
oers
The Body Artist: In its reections on time and loss, this
more
opportunities
for
a
reader
to
understand
may be a philosophical novel and maybe, considering its
the world better, including the world of artistic
themes, the book shares a place in my work with The
[38]
creation. That sounds pretty grand, but I think
Body Artist, another novel of abbreviated length. Reits true.[12]
views thus far have been polarised, with some saying the
novel is a return to form and innovative, while others have
complained about the novels brevity and apparent lack DeLillo received two further signicant literary awards
of plot and engaging characters. Upon its initial release, in 2010: the St. Louis Literary Award for his entire body
Point Omega spent one week on the New York Times of work to date on October 21, 2010 (previous recipiBestseller List, peaking at #35 on the extended version ents include Salman Rushdie, E.L. Doctorow, John Updike, William Gass, Joyce Carol Oates, Joan Didion and
of the list during its one-week stay on the list.[39]
Tennessee Williams);[40] and his second PEN Award, the
In a January 29, 2010, interview with the Wall Street JourPEN/Saul Bellow Award for Achievement in American
nal, DeLillo discussed at great length Point Omega, his
Fiction, on October 13, 2010.
views of writing, and his plans for the future. When asked
about why his recent novels had been shorter, DeLillo DeLillos rst collection of short stories, The Angel Esreplied, Each book tells me what it wants or what it is, meralda: Nine Stories, covering short stories published
and I'd be perfectly content to write another long novel. It between 1979 and 2011, was published in November
just has to happen.[17] While DeLillo is open to the idea 2011.[41] It has received favorable reviews, and has been
of returning to the form of the long novel, the interview a nalist for both the 2012 Story Prize award[42] and the
also revealed that he currently has no interest in doing as 2012 PEN/Faulkner award for Fiction,[43] as well as bemany of his literary contemporaries have done and writ- ing longlisted for the Frank OConnor International Short
ing a memoir.[17] DeLillo also made some observations Story Award.[44] New York Times Book Review contribon the state of literature and the challenges facing young utor Liesl Schillinger praised it, saying, DeLillo packs
fertile ruminations and potent consolation into each of
writers:
these rich, dense, concentrated stories.[45]
Its tougher to be a young writer today than
when I was a young writer. I don't think my
res, famine, deathagainst the beauty of everyday life; love, awe, the intimate touch of
earth and sun. Brilliantly observed and infused
with humor, Don Delillos Zero K is an acute
observation about the fragility and meaning of
life, about embracing our family, this world,
our language, and our humanity.[53]
In November 2015, DeLillo received the 2015 Medal for
Distinguished Contribution to American Letters at the
66th National Book Awards Ceremony. The ceremony
was held on November 8 in New York City, and was presented his award by Pulitzer Prize winner Jennifer Egan, a
writer profoundly inuenced by DeLillos work.[54] In his
acceptance speech, DeLillo reected upon his career as a
reader as well as a writer, recalling examining his personal
book collection and feeling a profound sense of personal
connection to literature: Here Im not the writer at all,
Im a grateful reader. When I look at my book shelves
I nd myself gazing like a museum-goer.[55] IN February 2016, DeLillo was the guest of honor at an academic
conference dedicated to his work, Don DeLillo: Fiction
Rescues History, a three-day event held at the Sorbonne
Nouvelle in Paris, France.[56]
DeLillo currently lives near New York City in the suburb
of Bronxville with his wife.[12]
3 Plays
Since 1979, in addition to his novels and occasional essays, DeLillo has been active as a playwright. To date,
DeLillo has written ve major plays: The Engineer of
Moonlight (1979), The Day Room (1986), Valparaiso
(1999), Love Lies Bleeding (2006), and, most recently,
The Word For Snow (2007). Stage adaptations have also
been written for DeLillos novels Libra and Mao II.
Of his work as a playwright, DeLillo has said that he feels
his plays are not inuenced by the same writers as his
novels: I'm not sure who inuenced me [as a playwright].
I've seen some reviews that mention Beckett and Pinter,
but I don't know what to say about that. I don't feel it
myself.[57]
7
Many of DeLillos 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 eectiveness 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 DeLillos
books is the saturation of mass media and its role in forming simulacra, resulting in the removal of an event from
its context and the consequent draining of 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
My book (Mao II), in a way, is asking who
is speaking to these people. Is it the writer
who traditionally thought he could inuence
the imagination of his contemporaries or is it
the totalitarian leader, the military man, the
terrorist, those who are twisted by power and
who seem capable of imposing their vision on
the world, reducing the earth to a place of danger and anger. Things have changed a lot in
recent years. One doesn't step onto an airplane
in the same spirit as one did ten years ago: its
all dierent and this change has insinuated itself into our consciousness with the same force
with which it insinuated itself into the visions
of Beckett or Kafka.[61]
sembly lines, television sets, supermarkets, synthetic fabrics, and credit cards.[64] George Will proclaimed the
study of Lee Harvey Oswald in Libra as sandbox existentialism and an act of literary vandalism and bad
citizenship.[64] 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. Thats 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.[64] In the same interview DeLillo rejected
Wills claim that DeLillo blames America for Lee Harvey Oswald, countering that he instead blamed America
for George Will. DeLillo also gured prominently in B.
R. Myers's critique of recent American literary ction, A
Readers Manifesto.
5.2 In music
Band names
The band The Airborne Toxic Event takes its name
from a chemical gas leak of the same name in
DeLillos White Noise.
Many younger English-language authors such as Bret Eas The Too Much Joy spin-o band, Wonderlick, takes
ton Ellis, Jonathan Franzen and David Foster Wallace
its name from an intentional misspelling of the name
have cited DeLillo as an inuence. Literary critic Harold
of the protagonist from Great Jones Street.
Bloom named him as one of the four major American
novelists of his time,[62] along with Thomas Pynchon,
Philip Roth, and Cormac McCarthy, though he questions Lyrics
the classication of DeLillo as a postmodern novelist.
Asked if he approves of this designation, DeLillo has re Rhett Miller references Libra in his song World Insponded: I don't react. But I'd prefer not to be labeled.
side a World, saying: I read it in DeLillo, like he'd
I'm a novelist, period. An American novelist.[63]
written it for me. (The phrase, There is a world inside the world, appears multiple times in DeLillos
Critics of DeLillo argue that his novels are overly stylbook.)
ized and intellectually shallow. Bruce Bawer famously
condemned DeLillos novels insisting they weren't actu Conor Oberst begins his song Gold Mine Gutted
ally novels at all but tracts, designed to batter us, again
with: It was Don DeLillo, whiskey neat, and a
and again, with a single idea: that life in America today
blinking midnight clock.
is boring, benumbing, dehumanized...Its better, DeLillo
seems to say in one novel after another, to be a maraud Too Much Joy's song Sort of Haunted House,
ing murderous maniac and therefore a human than to
from Mutiny, is inspired by DeLillo.
sit still for America as it is, with its air conditioners, as-
6 BIBLIOGRAPHY
5.3
In publications
5.4
In reviews
Bibliography
This list is incomplete; you can help by
expanding it.
6.1
Novels
Americana (1971)
End Zone (1972)
Great Jones Street (1973)
Ratners 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 Harpers in Oct. 1992)
The Body Artist (2001)
Cosmopolis (2003)
Falling Man (2007)
Point Omega (2010)
Zero K (2016)
9
The Border of Fallen Bodies (2009) (First Published in Esquire, April 21, 2009)
"Hammer and Sickle" (2010) (First published in
Harpers, Dec. 2010, pp. 6374)
Sine Cosine Tangent (2016) (First published in
The New Yorker, February 22, 2016)
Plexiglass (2016) (First published in Harpers,
Apr. 2016, pp. 8386.)
6.3
Plays
6.4
Screenplays
6.5
10
1998 American Book Award for Underworld
1999 Jerusalem Prize
1999 IMPAC Award shortlist for Underworld
2000 William Dean Howells Medal awarded for
Underworld
2000 "Riccardo Bacchelli" International Award
for Underworld
2001 James Tait Black Memorial Prize shortlist
(Fiction, 2001) for The Body Artist
2003 IMPAC Award longlist for The Body Artist
8 FURTHER READING
8 Further reading
Adelman, Gary, Sorrows Rigging: The Novels
of Cormac McCarthy, Don Delillo, and Robert
Stone,McGill-Queens University Press, 2012.
Bloom, Harold (ed.), Don DeLillo (Blooms 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.
2006 New York Times: Best Work of American Fiction of the Last 25 Years (Runner-Up) for
Underworld
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.
11
Laist, Randy, Technology and Postmodern Subjectivity in Don DeLillos 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.
Olster, Stacy (ed.), Don DeLillo: Mao II, Underworld, Falling Man (Continuum Studies in Contemporary North America Fiction), Continuum, 2011.
Orr, Leonard, White Noise: A Readers Guide Continuum International Publishing Group, 2003.
Osteen, Mark American Magic and Dread: Don
DeLillos Dialogue with Culture, University of Pennsylvania Press, 2000.
9 References
[1] The Pulitzer Prizes | Fiction. Pulitzer.org. Retrieved
2013-11-23.
[2] Prize for American Fiction Awarded to Don DeLillo.
Library of Congress. 2013-04-25. Retrieved 2013-1123.
[3] Kevin Nance (2012-10-12). Don DeLillo talks about
writing - Page 3. Chicago Tribune. Retrieved 2013-1123.
[4] Panic interview with DeLillo - 2005. Perival.com. Retrieved 2013-11-23.
[5] Vince Passaro (1991-05-19). Dangerous Don DeLillo.
The New York Times.
[6] Amend, Christoph; Diez, Georg (October 11, 2007).
Dum Pendebat Filius: Translation of Ich kenne
Amerika nicht mehr (I don't know America anymore)".
Die Zeit. Retrieved December 30, 2011.
[7] Dancing to the music of time. The Australian. 201003-06. Retrieved 2010-03-16.
[8] DeLillo Interview by Peter Henning,
Perival.com. Retrieved December 30, 2011.
2003.
Schneck,
Peter
&
Schweighauser,Philipp
(eds.),Terrorism, Media, and the Ethics of Fiction: Transatlantic Perspectives on Don Delillo,
Continuum, 2010.
12
[31] National Book Awards 1997. National Book Foundation. Retrieved 2012-03-28.
[32] Mark O'Connell (2012-09-09). The Angel Esmeralda:
Nine Stories by Don DeLillo review. London: The
Observer. Retrieved 2013-11-23.
REFERENCES
[54] http://flavorwire.com/535906/
don-delillo-to-receive-national-book-award-for-contribution-to-american-le
[55] http://www.nationalbook.org/amerletters_2015_ddelillo.
html
[56] http://delilloparisconf.byethost12.com/
[57] John Freeman (2006-03-05). Q&A: Don DeLillo / Its
not as easy as it looks / DeLillo talks about writing plays,
watching sports and movies, and dening love and death.
San Francisco Chronicle. Retrieved 2013-11-23.
[58] John N. Duvall (29 May 2008). The Cambridge Companion to Don DeLillo. Cambridge University Press. p. 13.
ISBN 978-1-139-82808-6.
[59] Singer, Dale. Take Five: Don't call Don DeLillos ction
'postmodern'". Retrieved 16 July 2014.
13
10
External links
14
11
11
11.1
Don DeLillo Source: https://en.wikipedia.org/wiki/Don_DeLillo?oldid=722524138 Contributors: Mav, Ortolan88, R Lowry, KF, Sophea,
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