2016
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28 de ago. de 2019 · As part of their "Redux" series, the Paris Review has lifted the paywall on Don DeLillo’s 1993 “Art of Fiction” interview. More than twenty-five years later, it still seems timely .
27 de abr. de 2015 · Don DeLillo, James Wolcott, and others celebrate Sorrentino. April 27, 2015. Alexis Madrigal. Tonight, St. Joseph’s College is hosting a birthday tribute to the late, great novelist Gilbert Sorrentino. Organized by Doubleday editor (and Bookforum contributor) Gerald Howard and Greenlight Bookstore, the event will feature readings and ...
21 de oct. de 2020 · Owl logo of Dorothy, a publishing project by Yelena Bryksenkova. In the New York Times, Joshua Cohen reviews Don DeLillo’s new novel, The Silence: “DeLillo has never been content with merely reporting, however: He wants to tell us not just what-is, but how it feels, and it’s this ability to transcribe the moment’s emotion that constitutes his genius.”
4 de dic. de 2020 · At the London Review of Books, Andrew O’Hagan reviews the new Don DeLillo novel, The Silence. O’Hagan writes that DeLillo “has been a catastrophist for so long that we only really get excited when life’s catastrophes go way beyond his predictions.”
7 de nov. de 2022 · On The Last Thing I Saw podcast, host Nicolas Rapold talks with critic Christian Lorentzen about director Noah Baumbach’s adaptation of Don DeLillo’s White Noise. At The Atlantic, Jennifer Wilson reviews Percival Everett’s new spy novel Dr. No, “an experimental work of genre fiction nestled within a distinctly African American revenge ...
14 de oct. de 2022 · Considering Toni Morrison, Thomas Pynchon, Don DeLillo, and more, Ripatrazone writes, “Nostalgia enables these artists to first romanticize—and therefore exquisitely evoke—faith, while also pivoting to authentic criticism that is smart and often biting.”
18 de ene. de 2022 · John Koenig’s new book, The Dictionary of Obscure Sorrows, lives up to its description as a “compendium of new words for emotions.”
There is a strange, shifting air of congruence between Don DeLillo’s two most recent novels, Cosmopolis (2003) and Falling Man, the first seeming to call for or provoke the second. In fact, the second revokes the first, abruptly strands it in a forgotten time and mentality.
29 de sept. de 2016 · Alexandra Kleeman’s fiction may share affinities with the luminaries of our postmodern canon—Don DeLillo, Robert Coover, and Ben Marcus—but her sensibility equally recalls the films of David Lynch.
Among many delights, Don DeLillo’s extraordinary new novel offers a bracing revision of our certitude about death and taxes. The rich, after all, learned long ago to evade the latter with offshore accounts and IRS loopholes, but in Zero K, the wealthiest have also, possibly, dodged mortality, that ultimate drag.
