Quotes About DeLillo

My books - I kid you not - are very often shelved between DeLillo and de Sade. Which not only completely cracks me up, but it seems like an encouraging message from the universe: between those two, there's a lot of wiggle room. I feel just fine there.

Terrorists are people, too - they are given to error. Naipaul and then DeLillo do a good job in their novels of drawing this out: I'm thinking of DeLillo's contention in 'Mao II' that terrorists have replaced writers as the people who 'alter the inner-life of the culture.' I thought that was marvellous!

I understand that postmodern literature probably means people like DeLillo, The Fiction Collective, but I don't get it that those writers are really influenced by postmodern theorists.

DeLillo never seems committed to me to what he is writing. Very nice surfaces, but he's got nothing underneath.

DeLillo has said that he no longer feels a compulsion to write long, compendious books. In his later years, Saul Bellow said something similar. DeLillo, of course, has written very long in the past, notably with the 850-page Underworld (1997), and his story has been America.

This was worse than a retched nightmare. It was the nightmare of real things, the fallen wonder of the world

Is there a fungus that speaks to you? I'm serious. People hear things. They hear God. He meant it. He was serious. He wanted to mean it, to hear anything the man might say, the whole shapeless narrative of his unraveling.

Of course you know. You're brilliant. Everyone says so. What else can they say? I do neurochemistry. No one knows what that is.

When someone asks whether they have bourbon, the bartender says smugly, 'Yes, of course, James Beam, very good.' Ã¢â'¬Â "James Beam. That is

The long soft life is what I feel I'm settling into and the only question is how deadly it will turn out to be. But

Let me say about Molly. If bullshit was music, she'd be a brass band.

Popular Mechanics, Iowa

There are times when you want to stop working at faith and just be washed in a blowing wind that tells you everything.

DeLillo presents art as the soundest magic against dread, the truest source of radiance and community. Albeit tentatively and ambiguously, Underworld suggests that artists may achieve an accommodation with culture that is also act of resistance. (7)