Don DeLillo

Don DeLillo
Donald Richard "Don" DeLillois an American novelist, playwright and essayist. His works have covered subjects as diverse as television, nuclear war, sports, the complexities of language, performance art, the Cold War, mathematics, the advent of the digital age, politics, economics, and global terrorism. Initially a well-regarded cult writer, the publication in 1985 of White Noise brought him widespread recognition. It was followed in 1988 by Libra, a bestseller. DeLillo has twice been a Pulitzer Prize for Fiction finalist), won the...
ProfessionNovelist
Date of Birth20 November 1936
CityBronx, NY
In these night recitations we create a space between things as we felt them at the time and as we speak them now. This is the space reserved for irony, sympathy and fond amusement, the means by which we rescue ourselves from the past.
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?
World is supposed to mean something that's self-contained. but nothing is self-contained.
I think if you maintain a force in the world that comes into people's sleep, you are exercising a meaningful power.
Sitting for a picture is morbid business. A portrait doesn't begin to mean anything until the subject is dead. This is the whole point. We're doing this to create a kind of sentimental past for people in decades to come. It's their past, their history we're inventing here. And it's not how I look now that matters. It's how I'll look in twenty-five years as clothing and faces change, as photographs change. The deeper I pass into death, the more powerful my picture becomes. Isn't this why picture-taking is so ceremonial? It's like a wake. And I'm the actor made up for the laying-out.
Fame requires every kind of excess. I mean true fame, a devouring neon, not the sombre renown of waning statesmen or chinless kings.
I felt myself getting whiter... What does it mean to become white? How does it feel to see Death in the flesh, come to gather you in?
Air travel reminds us who we are. It's the means by which we recognize ourselves as modern. The process removes us from the world and sets us apart from each other. We wander in the ambient noise, checking one more time for the flight coupon, the boarding pass, the visa. The process convinces us that at any moment we may have to submit to the force that is implied in all this, the unknown authority behind it, behind the categories, the languages we don't understand. This vast terminal has been erected to examine souls.
What did it mean, the first time, a thinking creature looked deeply into another's eyes? Did it take a hundred thousand years before this happened or it was the first thing they did, transcendingly, the thing that made them higher, made them modern, the gaze that demonstrates we are lonely in our souls?
Just because it's on the radio doesn't mean we have to suspend belief in the evidence of our senses.
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.
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.
The excitement of theatre is palpable but the frustrations, and the complete absence of a definitive evening - the play as text means practically nothing in a way - , there's no particular performance that is definitive in the way a novel is a solid object you hold in your hands and here it is. You can't say that about a play. If the novel gives us a sense of throbbing consciousness, theater is pure soul, beautiful and elusive.
Doesn't seem quite real. It's not meaningful. I can't quite imagine myself being 73. That's the age my father was! [Laughter.] How can I be his age? It's weird.