Don DeLillo

Don DeLillo looks into the mind and heart of a "defense intellectual," one of the men involved in the management of the country's war machine. Don DeLillo has been "weirdly prophetic about twenty-first-century America" (The New York Times Book Review). In his earlier novels, he has written about conspiracy theory, the Cold War and global terrorism. Now, in Point Omega, he looks into the mind and heart of a "defense intellectual", one of the men involved in the management of the country's war machine. Richard Elster was a scholar—an outsider—when he was called to a meeting with government war planners, asked to apply "ideas and principles to such matters as troop deployment and counterinsurgency". We see Elster at the end of his service. He has retreated to the desert, "somewhere south of nowhere", in search of space and geologic time. There he is joined by a filmmaker, Jim Finley, intent on documenting his experience. Finley wants to persuade Elster to make a one-take film, Elster its single character—"Just a man and a wall." Weeks later, Elster's daughter Jessica visits—an "otherworldly" woman from New York, who dramatically alters the dynamic of the story. The three of them talk, train their binoculars on the landscape, and build an odd, tender intimacy, something like a family. Then a devastating event throws everything into question. In this compact and powerful novel, it is finally a lingering human mystery that haunts the landscape of desert and mind.

The wisest, richest, funniest, and most moving novel in years from Don DeLillo, one of the great American novelists of our time—an ode to language, at the heart of our humanity, a meditation on death, and an embrace of life.Jeffrey Lockhart’s father, Ross, is a billionaire in his sixties, with a younger wife, Artis Martineau, whose health is failing. Ross is the primary investor in a remote and secret compound where death is exquisitely controlled and bodies are preserved until a future time when biomedical advances and new technologies can return them to a life of transcendent promise. Jeff joins Ross and Artis at the compound to say “an uncertain farewell” to her as she surrenders her body.“We are born without choosing to be. Should we have to die in the same manner? Isn’t it a human glory to refuse to accept a certain fate?”These are the questions that haunt the novel and its memorable characters, and it is Ross Lockhart, most particularly, who feels a deep need to enter another dimension and awake to a new world. For his son, this is indefensible. Jeff, the book’s narrator, is committed to living, to experiencing “the mingled astonishments of our time, here, on earth.”Don DeLillo’s seductive, spectacularly observed and brilliant new novel weighs the darkness of the world—terrorism, floods, fires, famine, plague—against the beauty and humanity of everyday life; love, awe, “the intimate touch of earth and sun.”Zero K is glorious.

There is September 11 and then there are the days after, and finally the years. Falling Man is a magnificent, essential novel about the event that defines turn-of-the-century America. It begins in the smoke and ash of the burning towers and tracks the aftermath of this global tremor in the intimate lives of a few people. First there is Keith, walking out of the rubble into a life that he'd always imagined belonged to everyone but him. Then Lianne, his estranged wife, memory-haunted, trying to reconcile two versions of the same shadowy man. And their small son Justin, standing at the window, scanning the sky for more planes. These are lives choreographed by loss, grief and the enormous force of history.

The National Book Award-winning classic from the author of Underworld and Libra, now a Netflix film starring Adam Driver, Don Cheadle, and Greta Gerwig White Noise tells the story of Jack Gladney, his fourth wife, Babette, and four ultra­modern offspring as they navigate the rocky passages of family life to the background babble of brand-name consumerism. When an industrial accident unleashes an "airborne toxic event," a lethal black chemical cloud floats over their lives. The menacing cloud is a more urgent and visible version of the "white noise" engulfing the Gladneys—radio transmissions, sirens, microwaves, ultrasonic appliances, and TV murmurings—pulsing with life, yet suggesting something ominous. Part of the Penguin Orange Collection, a limited-run series of twelve influential and beloved American classics in a bold series design offering a modern take on the iconic Penguin paperback Winner of the 2016 AIGA + Design Observer 50 Books | 50 Covers competition

While Eisenstein documented the forces of totalitarianism and Stalinism upon the faces of the Russian peoples, DeLillo offers a stunning, at times overwhelming, document of the twin forces of the Cold War and American culture, compelling that "swerve from evenness" in which he finds events and people both wondrous and horrifying. Underworld opens with a breathlessly graceful prologue set during the final game of the Giants-Dodgers pennant race in 1951. Written in what DeLillo calls "super-omniscience" the sentences sweep from young Cotter Martin as he jumps the gate to the press box, soars over the radio waves, runs out to the diamond, slides in on a fast ball, pops into the stands where J. Edgar Hoover is sitting with a drunken Jackie Gleason and a splenetic Frank Sinatra, and learns of the Soviet Union's second detonation of a nuclear bomb. It's an absolutely thrilling literary moment. When Bobby Thomson hits Branca's pitch into the outstretched hand of Cotter—the "shot heard around the world"—and Jackie Gleason pukes on Sinatra's shoes, the events of the next few decades are set in motion, all threaded together by the baseball as it passes from hand to hand. "It's all falling indelibly into the past," writes DeLillo, a past that he carefully recalls and reconstructs with acute grace. Jump from Giants Stadium to the Nevada desert in 1992, where Nick Shay, who now owns the baseball, reunites with the artist Kara Sax. They had been brief and unlikely lovers 40 years before, and it is largely through the events, spinoffs, and coincidental encounters of their pasts that DeLillo filters the Cold War experience. He believes that "global events may alter how we live in the smallest ways," and as the book steps back in time to 1951, over the following 800-odd pages, we see just how those events alter lives. This reverse narrative allows the author to strip away the detritus of history and pop culture until we get to the story's pure elements: the bomb, the baseball, and the Bronx. In an epilogue as breathless and stunning as the prologue, DeLillo fast-forwards to a near future in which ruthless capitalism, the Internet, and a new, hushed faith have replaced the Cold War's blend of dread and euphoria. Through fragments and interlaced stories—including those of highway killers, artists, celebrities, conspiracists, gangsters, nuns, and sundry others—DeLillo creates a fragile web of connected experience, a communal Zeitgeist that encompasses the messy whole of five decades of American life, wonderfully distilled.

From one of the most dazzling and essential voices in American fiction, a timely and compelling novel set in the near future about five people gathered together in a Manhattan apartment, in the midst of a catastrophic event. Don DeLillo completed this novel just weeks before the advent of Covid-19. The Silence is the story of a different catastrophic event. Its resonances offer a mysterious solace. It is Super Bowl Sunday in the year 2022. Five people, dinner, an apartment on the east side of Manhattan. The retired physics professor and her husband and her former student waiting for the couple who will join them from what becomes a dramatic flight from Paris. The conversation ranges from a survey telescope in North-central Chile to a favorite brand of bourbon to Einstein's 1912 Manuscript on the Special Theory of Relativity. Then something happens and the digital connections that have transformed our lives are severed. What follows is a dazzling and profoundly moving conversation about what makes us human. Never has the art of fiction been such an immediate guide to our navigation of a bewildering world. Never have DeLillo's prescience, imagination, and language been more illuminating and essential.

The Body Artist begins with normality: breakfast between a married couple, Lauren and Rey, in their ramshackle rented house on the New England coast. Recording their delicate, intimate, half-complete thoughts and words, Don DeLillo proves himself a stunningly unsentimental observer of our idiosyncratic relationships. But after breakfast, Rey makes a decision that leaves Lauren utterly alone, or seems to. As Lauren, the body artist of the title, becomes strangely detached from herself and the temporal world, the novel becomes an exploration of a highly abnormal grieving process; a fascinating exposé of 'who we are when we are not rehearsing who we are'; and a rarefied study of trauma and creativity, absence and presence, isolation and communion.

"One of the most intelligent, grimly funny voices to comment on life in present-day America" (The New York Times), Don DeLillo presents an extraordinary new novel about words and images, novelists and terrorists, the mass mind and the arch-individualist. At the heart of the book is Bill Gray, a famous reclusive writer who escapes the failed novel he has been working on for many years and enters the world of political violence, a nightscape of Semtex explosives and hostages locked in basement rooms. Bill's dangerous passage leaves two people stranded: his brilliant, fixated assistant, Scott, and the strange young woman who is Scott's lover—and Bill's.

It is a stunningly eventful day in the life of Eric Packer, a multi-billionaire who has recently married the heiress of a vast European fortune. A violent protest is being staged by anti-globalist groups and Eric fears that he may be a target. He is very much the target - but not by the protestors.

From the author of White Noise (winner of the National Book Award) and The Silence , an eerily convincing fictional speculation on the events leading up to the assassination of John F. Kennedy In this powerful, unsettling novel, Don DeLillo chronicles Lee Harvey Oswald's odyssey from troubled teenager to a man of precarious stability who imagines himself an agent of history. When "history" presents itself in the form of two disgruntled CIA operatives who decide that an unsuccessful attempt on the life of the president will galvanize the nation against communism, the scales are irrevocably tipped. A gripping, masterful blend of fact and fiction, alive with meticulously portrayed characters both real and created, Libra is a grave, haunting, and brilliant examination of an event that has become an indelible part of the American psyche.

En nous lançant aux trousses de David Bell, l’inquiet et séduisant narrateur du roman, Don DeLillo nous entraîne dans les arcanes d’une société où l’on bascule facilement du confort de l’establishment au vagabondage, sous l’influence de mythes, fantasmes et obsessions auxquels se raccrochent les personnages irrésistibles qui peuplent cette aventure. Premier roman de l’écrivain reconnu qu’est aujourd’hui Don DeLillo, Americana apporte une nouvelle preuve que l’Amérique est encore et toujours à découvrir.

Jack Gladney, un profesor universitario especializado en estudios sobre Hitler, vive en una pequeña ciudad americana con Babette, su cuarta esposa, y los hijos que ambos han tenido de anteriores matrimonios. Marcados por el consumismo y el miedo a la muerte, los Gladney tratan de llevar una vida familiar tranquila cuando un terrible accidente industrial provoca un «escape tóxico a la atmósfera», una nube de gases letales que amenaza su ciudad. Don DeLillo capta toda la extrañeza de la existencia humana en el mundo contemporáneo. La nube tóxica es una versión más visible y apremiante de ese ruido de fondo que rodea a los Gladney y a todos nosotros: el murmullo incesante de la televisión, las transmisiones de radio, las sirenas, las ondas ultrasónicas y electrónicas, todas esas señales omnipresentes que nos hechizan y nos paralizan. En palabras de DeLillo: «Una historia sobre el miedo, la muerte y la tecnología. Una comedia, por supuesto.» Ganadora del National Book Award en 1985, Ruido de fondo es un clásico de la novela americana y, junto a Submundo, la obra más representativa de uno de los más aclamados narradores contemporáneos. De ella se ha dicho: «Una de las obras más divertidas de Don DeLillo... Escalofriante, brillante y conmovedora», The New York Times; «La novela más audaz y original de los últimos tiempos», Chicago Tribune; «Una obra sensacional de uno de nuestros novelistas más inteligentes», The New Republic.

Keith Neudecker emerge de una enorme nube de humo aferrándose a un maletín y, cubierto de cenizas y cristales rotos, deambula confuso por las calles de Manhattan hasta llegar, sin saber cómo ni por qué, a la casa de su mujer, de la que lleva un tiempo separado, y de su hijo. Es el 11 de septiembre de 2001. El mundo ha cambiado para siempre. Ya no hay un antes, tan sólo queda un después. Pero, ¿cómo imaginarlo siquiera?

يتخذ دون ديليلو في روايته «ضوضاء بيضاء» (1985) التي انتقلت إلى العربية عن «دار التنوير» (ترجمة يزن الحاج) من هاجس الخوف من الموت موضوعاً يترجم عبره سلوك أبطالهِ المتعدد والمتكامل. يجعل من الهاجس الأزلي حيال الموت، فرصةً لتقديم رؤية مغايرة للحضارة في القرن العشرين.