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Don DeLillo

Autor(a) de White Noise

49+ Works 43,464 Membros 734 Críticas 196 Favorited

About the Author

Don DeLillo was born in the Bronx, New York on November 20, 1936. He received a bachelor's degree in communication arts from Fordham University in 1958. After graduation, he was a copywriter for an advertising company and wrote short stories on the side. His first story, The River Jordan, was mostrar mais published two years later in Epoch, the literary magazine of Cornell University. His first novel, Americana, was published in 1971. His other works include Ratner's Star, The Names, Libra, Underworld, The Body Artist, Cosmopolis, Falling Man, Point Omega, and The Angel Esmeralda, a collection of short stories. He won several awards including the National Book Award for fiction in 1985 for White Noise, the PEN/Faulkner Award in 1992 for Mao II, the PEN/Saul Bellow Award for Achievement in American Fiction in 2010, and the inaugural Library of Congress Prize for American Fiction in 2013. (Bowker Author Biography) mostrar menos

Obras por Don DeLillo

White Noise (1984) 10,910 exemplares
Underworld (1997) 7,933 exemplares
Libra (1988) 3,669 exemplares
Falling Man (2007) 2,874 exemplares
Cosmopolis (2003) 2,468 exemplares
The Body Artist (2001) 2,414 exemplares
Mao II (1991) 2,340 exemplares
The Names (1982) 1,369 exemplares
Americana (1971) 1,187 exemplares
Point Omega (2010) 1,166 exemplares
Zero K (2016) 960 exemplares
Ratner's Star (1976) 838 exemplares
Great Jones Street (1972) 813 exemplares
End Zone (1972) 754 exemplares
Running Dog (1978) 627 exemplares
The Angel Esmeralda (2011) 588 exemplares
The Silence (2020) 587 exemplares
Players (1977) 501 exemplares
Valparaiso: A Play (1999) 195 exemplares
Pafko at the Wall: A Novella (2001) 184 exemplares
The Day Room (1987) 146 exemplares
Love Lies Bleeding (2006) 88 exemplares
The Word for Snow (2014) 8 exemplares
RUMORE BIANCO (2023) 4 exemplares
Teatro (2011) 2 exemplares
Linha Final 2 exemplares
Baader-Meinhof 1 exemplar
The Itch 1 exemplar
איש נופל 1 exemplar
Sessizlik (2022) 1 exemplar

Associated Works

The Story and Its Writer: An Introduction to Short Fiction (1983) — Contribuidor — 1,124 exemplares
Secret Ingredients: The New Yorker Book of Food and Drink (2007) — Contribuidor — 535 exemplares
American Gothic Tales (1996) — Contribuidor — 454 exemplares
Baseball: A Literary Anthology (2002) — Contribuidor — 334 exemplares
The Best American Short Stories 1995 (1995) — Contribuidor — 301 exemplares
Writing New York: A Literary Anthology (1998) — Contribuidor — 274 exemplares
The Best American Nonrequired Reading 2011 (2011) — Contribuidor — 237 exemplares
The Secret History of Science Fiction (2009) — Contribuidor — 196 exemplares
Granta 117: Horror (2011) — Contribuidor — 174 exemplares
Granta 25: The Murderee (1988) — Contribuidor — 162 exemplares
Granta 34: Death of a Harvard Man (1990) — Contribuidor — 159 exemplares
Granta 108: Chicago (2009) — Contribuidor — 141 exemplares
Norton Introduction to the Short Novel (1982) — Contribuidor, algumas edições98 exemplares
Great Esquire Fiction (1983) — Contribuidor — 70 exemplares
After Yesterday's Crash: The Avant-Pop Anthology (1995) — Contribuidor — 66 exemplares
Granta 11: Greetings From Prague (1984) — Contribuidor — 60 exemplares
Granta 147: 40th Birthday Special (2019) — Contribuidor — 56 exemplares
Introducing Don DeLillo (1991) — Contribuidor — 41 exemplares
Cosmopolis [2012 film] (2012) — Original book — 38 exemplares
The Good Parts: The Best Erotic Writing in Modern Fiction (2000) — Contribuidor — 34 exemplares
Antaeus No. 75/76, Autumn 1994 - The Final Issue (1994) — Contribuidor — 32 exemplares
The Paris Review 167 2003 Fall (2003) — Contribuidor — 12 exemplares
On the job: Fiction about work by contemporary American writers (1977) — Contribuidor — 10 exemplares
Grand Street 73: Delusions (1899) — Contribuidor — 8 exemplares
Cutting Edges: Young American Fiction for the 70's (1973) — Contribuidor — 7 exemplares
Hebbes 2 : 15 smaakmakers voor het voorjaar — Contribuidor — 3 exemplares
Racconti di cinema (2014) — Contribuidor — 3 exemplares
Black Clock 4 (2005) — Contribuidor — 2 exemplares


Conhecimento Comum



Group Read, March 2018: Underworld em 1001 Books to read before you die (Março 2018)
White Noise by Don DeLillo, (Bowie's Top 100 for June) em 75 Books Challenge for 2016 (Junho 2016)


ben_r47 | 171 outras críticas | Feb 22, 2024 |
White Noise - 1: a constant background noise especially one that drowns out other sounds. 2: meaningless or distracting commotion, hubbub, or chatter.

Both definitions are themes played out in Don DeLillo’s novel: the constant background noise in this instance, the excessive and obsessive fear of death felt by the protagonist Jack Gladney and his wife; the meaningless or disturbing commotion, America in the late 80s/ early 90s coming to terms with modern society’s newest influences: supermarkets, television, educational expertise, scientific and medical advancements and the such like.

Despite themes of mortality and death, White Noise is surprisingly a comic novel (albeit a dark one). We are flies on the wall of a typical, atypical American family unit. Jack and Babette and their various children from a series of previously failed marriages bungle through life together. As the story progresses, the spectres of death and modernity begin to flavour domestic life and husband and wife become more and more unhinged.

There is a very Vonnegutian feel to the novel: despite the dramatic events they face, their responses are deadpan and passive - as the novel progresses we gather more and more evidence that DeLillo's characters are not the good parents, responsible citizens or self-aware individuals we assume they are. Numerous failed marriages (twice to the same person) professorships in Hitler studies, couples copies of Mein Kampf, obsessive concerns with who will die first and trips/ harassment of doctors for crying babies and psychosomatic symptoms could perhaps be considered disturbing, but are in fact humorous in their ridiculousness - especially complemented in the way they are quite normal and serious concerns to the characters. The fears, idiosyncrasies and psychosis’s continue to surface and Jack and Babette slowly unravel.

The book works because mortality is an element of the human condition, one which we all have perhaps pondered at points in our lives and hence it is easy to empathise with the Gladneys. They are mirrors for us to take a self-depreciatory laugh at ourselves and meditate and experience our transience vicariously. White Noise is an entertaining and interesting novel rich with potential interpretation and discussion - one I would've liked to buddy read due to the amount of 'stuff' to chew on. I'm happy with my first DeLillo read and look forward to his others which I have on the shelves, namely Underworld, The Names and Libra.
… (mais)
Dzaowan | 171 outras críticas | Feb 15, 2024 |
This novel is a highly atmospheric, almost surreal world that's eerily reminiscent of the one we live in. Sometimes the prose hits you like a stream of consciousness with no apparent end, immersing you in all the mundane, the nitty-gritty, the bustle of human life - and it's hard to separate one thing from another, or maybe you were never supposed to in the first place, simply absorb what you see as it happens.

One of DeLillo's main motifs seems to be images and how we are constantly bombarded by them, to the point where everything but violence and death ceases to have impact... and even these sometimes lose their meaning for us as well, if they are repeated enough for us to see. It's illustrated sharply in some of the characters' experiences. Brita, a self-made photographer, used to take pictures of city underworlds until she realized even the graphic nature of those images faded into the background compared to their tragic beauty. Bill, the reclusive writer who is being stifled by his latest book, abandons his quiet, structured life for a nightscape of terror and violence, perhaps because that's the only place he feels alive, an active contributor to events he used to merely write about. Scott, the reclusive writer's fiercely loyal assistant, leads a mundane life dealing with copies upon copies of Bill's past work, work-in-progress, letters, etc. until he becomes somewhat of an automaton. At one point, he views an exhibit on Chairman Mao comprised of so many versions of the same portrait that it's rendered almost harmless, a mere fancy for the eyes, though at the same time it is an image that cannot be forgotten.

Karen, our final main character, is a particularly unique person and I can't decide how I feel about her, or even if I understand her completely. She experiences firsthand the mindless mass multiplication of a specific image - that of marriage, where thousands of couples are paired together under the religious cult leader Master Moon. She later escapes both the cult and her own family, wandering through life on her own terms. Karen acts like a sponge for all things human, to the point where she loses nearly all individual expression and identity - almost dead to the world, as it were, but her actions speak differently. She seems to consciously seek out human images, with a special focus on anything grim and bleak - from peddling flowers and peanuts on the road to wandering among homeless people, many of them shadowy and dangerous, listening to their stories and foraging items for them that can be exchanged for money. To me she represents the deeply buried longing in all of us to just get out there, to do something to combat our apathy and insulation, to see the world for what it really is and feel like part of something bigger, to feel alive even if it's in the most unlikely situations. And maybe it's those unlikely situations, those in-between places, those dark and bleak surroundings that truly awaken us, that tell us what we've been blind to all along.

At first, when I reached the ending I was disappointed that Bill never seemed to work up the courage to make a stand against the terrorists, or finish writing something about the hostage that would give him meaning and identity, or turn himself over to save the hostage writer's life. His lateness to act struck me as extremely selfish. Instead of doing any of those things, Bill gets himself hit by a car (seemingly on purpose), refuses to get treatment, and ends up dying alone and anonymous on a ferry, after finally making the vague impulse to meet the terrorist leader Abu Rashid. It's a sad and meaningless end, one which he may have wanted all along - to disappear forever from the public eye and human consciousness, all on his own terms. I didn't understand at first why he had to die that way, why DeLillo chose that route and not some meaningful struggle against the terrorists. But it brings back another of DeLillo's recurring themes - "the future belongs to crowds."

Here, the terrorists are one of many crowds in question, but they represent the main threat to Bill's purpose as an author because of their ability to "make raids on human consciousness" - shaping the world and controlling its people's minds through violence. So in reality, Bill has been fighting them all this time using the power of his words alone. And now that he has lost even that - his ability to influence through his novels - there is no other reason for him to fight on, or even live on; the battle has already been lost. Thus, when it comes to individual vs. the crowd, the individual inevitably takes the loss. And that's the major tragedy of our time - when individualism and freedom of expression, things that make us human, are erased in favor of mass-mandated conformity for the sake of the vague feeling of "belonging." And even meaning itself fades into obscurity, as our lives are inundated by images and news to which we become increasingly desensitized. DeLillo illustrates this with depressing accuracy and heart-wrenching eloquence - and for a book written decades ago, it was startlingly prophetic in its telling.
… (mais)
Myridia | 28 outras críticas | Jan 19, 2024 |
I reread this in anticipation the Noah Baumbach film. My keenness for the that has diminished a bit because for the second time in a week I have come back to a text I was blown away by on a first reading to find it a pale shadow of the form in my mind. As with Cunningham's The Hours I can absolutely appreciate the novelty and the daring which created such an initial impact but it feels now both dated and overiterated - to death almost. I found myself thinking that this is the sort of thing JG Ballard could have produced if he'd had a sense of humour and anything approaching stylistic panache. Oh well. (3)… (mais)
djh_1962 | 171 outras críticas | Jan 7, 2024 |


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