Posts Tagged: Don DeLillo

The Human Cost: Discussing Political Storytelling with Olivia Kate Cerrone

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Olivia Kate Cerrone discusses her novella The Hunger Saint and the significance of historical fiction. ...more

The Rumpus Interview with Russell Banks

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Russell Banks discusses his new book, Voyager: Travel Writings, why we are never free from our history, and how writing saved his life. ...more

The Saturday Rumpus Essay: 69 Love Songs

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Everywhere people are shoving things into the ground—time capsules not to be opened until the year 2100, the more optimistic postmarked for 3000—letters to the future in the language of the now. ...more

Where Books Meet Their Ends

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For the Guardian, Sam Jordison draws parallels between Don DeLillo’s previous novels (White Noise and Omega) and his most recent novel, Zero K:

In Point Omega, we’re told: “The true life is not reducible to words spoken or written, not by anyone, ever.” In White Noise, meanwhile, Jack Gladney already feels like he is the false character following his name around.

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Total Noise and Complete Saturation

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For as long as I can remember I’ve been interested, in a clinical way, in silence. ...more

The Rumpus Interview with David Shields and Caleb Powell

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Writers David Shields and Caleb Powell can't stop fighting, even about their new book-length argument and forthcoming film, I Think You're Totally Wrong. ...more

Swinging Modern Sounds #60: On Mentorship

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In an empirically-preoccupied world, mentorship appears to be unscientific, impossible to quantify, and perhaps even sentimental. ...more

Seriously Serious

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Over at the Paris Review, Jason Novak has taken up the pen again; this time, he’s turned to authors and their eccentricities. Among his observations:

“Somewhere Hemingway is sitting quietly at his desk. Pouring another bull. And fighting another drink.”

Other targets include Don DeLillo, Jane Austen, Hegel, Nabokov, Heidegger, and the state of Publishing itself.

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Bright Lights, Big City and “The Shattering of the Self”

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“…Jay McInerney’s 1984 publication of Bright Lights allows us excavation to an even earlier level of American self-confusion. The novel’s second-person narrative, which people found so powerfully affecting, cannot be dismissed as but a clever trick when seen in a broader context—as a visceral reaction to the early stage of a society where Don DeLillo’s J.

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