“The future belongs to crowds.”

Over the coming months, you’ll notice a lot of changes at the Don DeLillo Society (DDS) webpage and Newsletter. Moving forward, graduate and undergraduate students at California State Polytechnic University, Pomona will be refreshing the look, revising the content, and publishing all new material. This will free up the Newsletter editors to move toward a peer review model. One new feature we’re excited to roll out is an undergraduate writing contest on DeLillo scholarship. Details will be forthcoming.

In the meantime, please post comments with suggestions about things you’d like to see on the DDS site and we’ll keep working to bring you great content.

Don DeLillo Conference in Paris Program (February 18-20, 2016)

The program of the Don DeLillo Conference in Paris, ‘Fiction Rescues History’ (February 18-20, 2016), is now available on the conference website: http://delilloparisconf.byethost12.com/ 

Registration and online payment are open till January 15.

Guest of Honor: Don DeLillo (with the support of Actes Sud Éditions)

Plenary Speakers:

Peter Boxall, University of Sussex

Michael Naas, DePaul University

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“Don DeLillo: ‘Fiction Rescues History’” Conference Paris – February 18-20, 2016


“Don DeLillo: ‘Fiction Rescues History’” Conference

Paris – February 18-20, 2016 

Guest of Honor: Don DeLillo (with the support of Actes Sud Editions) 

Plenary Speakers:

Peter Boxall, University of Sussex

Michael Naas, DePaul University


LARCA – Laboratoire de recherches sur les cultures anglophones (UMR 8225, Paris Diderot)

VALE – Voix anglophones, littérature et esthétique (EA 4085, Sorbonne Paris 4)

ERIAC – Équipe de recherche interdisciplinaire sur les aires culturelles (EA 4705, Rouen)

PRISMES (VORTEX) – Langues, textes, arts et cultures du monde anglophone (EA 4398, Sorbonne Nouvelle Paris 3)

Call For Papers:

Throughout his imposing body of work, Don DeLillo unearths the mechanisms of history by securely anchoring his fiction in historical reality. His universeis genuinely contemporary insofar as it stages our epoch, exploring its problems and questioning its stakes. Indeed, the stuff of history is constitutive of his fiction: the assassination of John Fitzgerald Kennedy and the life of Lee Harvey Oswald dominate Libra (1988), the cold war Underworld (1997); the nuclear catastrophe is depicted in End Zone, the terrorist threat in Mao II (1991), both inspired by the Iran-Contra affair and by the fatwa issued against Salman Rushdie. Players (1977) takes as its object the world of unbridled financial speculation, later revisited in Cosmopolis (2003), which stages the collapse of the dotcom boom; Falling Man (2007) focuses on post 9/11 America while Point Omega (2010) explores a nation bogged down in the Middle-East wars and drawn into a logic of torture seemingly legitimated by the state of exception. DeLillo acknowledges his profound interest in the relation between fiction and history and in a certain type of historical novel: “My own personal preference is for fiction that is steeped in history, that takes account of ways in which our perceptions are being changed by events around us. Global events that may alter how we live in the smallest ways.”

This conference will focus on the shaping power of history in DeLillo’s work. How and why does the writer complexify the theories and the writing of history, even as his fiction allows him to solve a number of theoretical aporias. Papers may also take into account the apparent obliteration of history in certain novels. Indeed, even when history is absent, as is the case in White Noise (1984) or The Body Artist (2001) for instance, its very erasure seems obscurely to reinforce its presence. The epochal dimension of DeLillo’s work could also be questioned, in other words the underlying dimension of suspension in his fiction, especially at the turn of the new millennium. According to its etymology (epokhē), the word epoch designates an unknown territory in which history seems to hesitate over what direction to take and to be in search of a form of written narrative – a territory suggested, for instance, by the contrapuntal relation between the dehistoricized The Body Artist and the hyper-historicized Cosmopolis. Such an a-temporal (a-chronic?) moment could also be considered in other works of the same period, namely the essay “In the Ruins of the Future” (2001) but also his play Love-Lies-Bleeding(2005) which literally represents the in-between. To what extent and how does 9/11 embody such a transition?

Such considerations call for a re-evaluation of the place of Falling Man (2007) and more precisely for a reexamination of this novel among other works written in the liminal space of the millennium and contributing to the sub-genre of “post-9/11 fictions” – a category that itself should be questioned.

The conference will address DeLillo’s critical analysis of official history as well as of its totalizing and totalitarian power, for instance by focusing on voices of protest in his work who find themselves confined to the margins of history.  In connection with these margins, it may be worth returning to the notion of “counter‑history” put forward by the author in his essay “The Power of History” (1997), a notion that could include the role played by arts and artists when they question official forms of discourse and make manifest the very heterogeneity of history.

Conference participants should pay particular attention to the singular language invented by DeLillo out of conventional discourses, bearing in mind the writer’s words: “But before everything, there’s language. Before history and politics, there’s language.”

Papers need not be limited to DeLillo’s novels, they may also focus on the plays and stories.

Contributors are invited to tackle the following topics, among others:

  • The various forms of writing history
  • Resistance and counter-narratives
  • Community/ies
  • DeLillo and his contemporaries
  • Terrorism and counter-terrorism; the evolution in the representations of terrorism(s), from the story « The Uniforms» (1970) to the latest novelPoint Omega.
  • Relations between essays and fiction
  • Technology


Deadline for proposals (title, ±500-word long abstract, and short bio): October 15, 2015

Answer: November 1st, 2015

Proposals should be submitted by email to the scientific committee

Antoine Cazé – antcaze@wanadoo.fr

Anne-Laure Tissut – altissut@yahoo.fr

Karim Daanoune – kdaanoune@gmail.com

Jean-Yves Pellegrin – jy_pellegrin@yahoo.fr


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The Don DeLillo Society Conference in Sussex

This one-day conference will address the state of fiction in contemporary American culture by focusing on the extensive oeuvre of Don DeLillo, from the 1970s to the present day and beyond. Shortly after the publication of The Names, DeLillo commented that fiction had not yet been ‘filled in,’ ‘done in,’ or ‘worked out.’ How do we read this thirty years later, in the shadow of not only DeLillo’s major works but also the events that have characterised our move into the Twenty-First Century? How have DeLillo’s small leaps between the New York of Players (1977) and the New York of Falling Man (2007) ‘filled in’ fiction? Has DeLillo’s pervasive influence across contemporary American culture ‘done in’ postmodernism? Is the novel in the Twenty First Century already ‘worked out’?

For more information, check out the conference’s website.

Or purchase your tickets here.

CFP: DD Society @ U of Sussex

The State of Fiction: Don DeLillo in the 21st Century

10 June 2015, University of Sussex

Writing also means trying to advance the art. Fiction hasn’t quite been filled in or done in or worked out. We make our small leaps.
Don DeLillo, 1982

This one-day conference will address the state of fiction in contemporary American culture by focusing on the extensive oeuvre of Don DeLillo, from the 1970s to the present day and beyond. DeLillo commented shortly after the publication of The Names that fiction had not yet been ‘filled in,’ ‘done in,’ or ‘worked out.’ How do we read this thirty years later, in the shadow of not only DeLillo’s major works but also the events that have characterised our move into the Twenty-First Century? How have DeLillo’s small leaps between the New York of Players (1977) and the New York of Falling Man (2007) ‘filled in’ fiction? Has DeLillo’s pervasive influence across contemporary American culture ‘done in’ postmodernism? Is the novel in the Twenty First Century already ‘worked out’?

Proposals for presentations of 20 minutes or for pre-formed panels of 1 hour are invited; topics, which should be rooted in the work of DeLillo, may include but are not limited to:

  • The novelist in contemporary (American) culture: canonicity, influence, consumption
  • New contexts: 9/11, Occupy, neoliberalism, globalisation
  • ‘The Power of History’: the state and the shadow-state, popular culture, paranoia
  • New realisms: crisis, terror, apocalypse, childhood, metafiction
  • Language: the individual and the crowd, the everyday and the event, ekphrasis
  • New forms: genres, adaptations, translations, multilingualism
  • The ends of postmodernism? Forebears, afterlives, lateness
  • Environment, global warming and waste

Submissions that are interdisciplinary in nature are particularly encouraged. Abstracts of up to 250 words in length and a brief biographical note should be submitted at delilloconference2015.wordpress.com by 19 March 2015.

Bibliography update October 2014

  • Books

Paryz, Marek, ed. Don DeLillo. Warszawa: Warsaw University Press, 2012 [in Polish]. Contents:

  • Paryz, Marek. Introduction. “Don DeLillo: ‘I’m Not Trying to Manipulate Reality.’”7-14.
  • Kolbuszewska, Zofia. “The Mӧbius Strip as the Trajectory of the American Myth (Americana and Ratner’s Star).” 15-31.
  • Paryz, Marek. “The Parameters of Impasse (End Zone, Great Jones Street, The Names).” 33-52 and “Algorithms, Systems, Spaces, or the Exteriority of Existence (Players).” 53-69.
  • Warso, Anna. “Running Dog: Nothing Is One’s Own.” 71-84.
  • Rychter, Marcin, and Mikolaj Wisniewski. “Excess of Information: A Conversation on White Noise.” 85-102.
  • Krawczyk-Laskarzewska, Anna. “Libra, or the Immeasurable Balance of Scales.” 103-126.
  • Bartczak, Kacper. “The Novel as a Non-Mass Entity and the Birth of Its Author (Mao II).” 127-153.
  • Kociatkiewicz, Justyna. “The Cold War Picture Book (Underworld).” 155-170.
  • Ladyga, Zuzanna. “Paroxytonic Postmodernity: Don DeLillo’s Underworld.” 171-185.
  • Jarniewicz, Jerzy. “Hair in the Mouth, or On Speaking in Tongues (The Body Artist).” 187-201.
  • Antoszek, Andrzej. “In the Net of Capital, Technology, and… Feelings? (Cosmopolis)” 203-217.
  • Maslowski, Maciej. “Literature as a Counter-Narrative (Falling Man).” 219-242
  • Maslowski, Maciej. “Watching the Universe Die on 120 Pages (Point Omega).” 243-261.

Gourley, James. Terrorism and Temporality in the Works of Thomas Pynchon and Don DeLillo. London, Bloomsbury, 2013. [adresses mainly Mao II, Cosmopolis, Falling Man, Point Omega].

Pass, Phill. The Language of Self. Strategies of Subjectivity in the Novels of Don DeLillo. Peter Lang, 2014.


  • Sections of books

Ahearn, Edward J. “DeLillo’s Global City.” Epilogue. Urban Confrontations in Literature and Social Science, 1848-2001: European Contexts, American Evolutions. Ahearn (Ed.). Farnham: Ashgate, 2010. 181-203.

Antoszek, Andrzej. “‘Who Will Clean Up All This Waste?’ Post-Cold War America in Don DeLillo’s Underworld.” Post-Cold War Europe, Post-Cold War America. Eds. Ruud Janssens and Rob Kroes. Amsterdam: VU University Press, 2004. 171-177.

Antoszek, Andrzej. “America’s Underworld According to Don DeLillo.” W kanonie prozy amerykańskiej. Od Nathaniela Hawthorne’a do Joyce Carol Oates. Ed. Lucyna Aleksandrowicz-Pedich. Warszawa: Academica, 2007. 166-177. (in Polish).

Bachner, Sally. “The Hammers Striking the Page: Don DeLillo and the Violent Politics of Language.” The Prestige of Violence: American Fiction, 1962-2007. Athens: The University of Georgia Press, 2011. 123-141.

Baker, Stephen. “‘Now More Than Ever’: Death and Cultural Consumption in Don DeLillo.” The Fiction of Postmodernity. Lanham: Rowman & Littlefield Publishers, 2000: 81-122. (mostly Libra, White Noise and Mao II).

Banita, Georgiana. “Falling Man Fiction: DeLillo, Spiegelman, Schulman, and the Spectatorial Condition.” Plotting Justice: Narrative Ethics and Literary Culture after 9/11. Lincoln: University of Nebraska Press, 2012. 59-108.

Bartczak, Kacper. “Communication and Passion: The Language Aesthetics of Don DeLillo.” Reflections on Ethical Values in Post(?)Modern American Literature. Eds. Teresa Pyzik. Katowice: University of Silesia Press, 2000. 79-89.

Bartczak, Kacper. “A Certain Amount of the Unknown – The Argument of the Bodily in Don DeLillo.” Folia Litteraria Anglica: Acta Universitas Lodziensis 5 (2001): 5-18.

Boxall, Peter. « Slow Man, Dangling Man, Falling Man: Beckett in the Ruins of the Future ». Since Beckett. Contemporary Writing in the Wake of Modernism. London: Continuum Literary Studies, 2009. 166-199.

Breitbach, Julia. “Liminal Realism: Don DeLillo, The Body Artist (2001).” Analog Fictions for the Digital Age: Literary Realism and Photographic Discourses in Novels After 2000. Camden House, 2012. 72-114.

Chauvin, Serge. “L’œil des foules: DeLillo, Mao, la photo.” [“The Eye of the Crowd: DeLillo, Mao, Photography”]. Jardins d’hiver. Littérature et photographie. Ed. Marie‑D. Garnier. Paris: Presses de l’École Normale Supérieure, 1997. 187–189.

Coale, Samuel Chase. Paradigms of Paranoia. The Culture of Conspiracy in Contemporary American Fiction. Tucsaloosa: The University of Alabama Press, 2005. (chapter 5: Mystic Musings in a Paranoid’s Paradise 87-134)

Codebo, Marco. “Libra by Don DeLillo.” Narrating from the Archive Novels, Records, and Bureaucrats in the Modern Age. Fairleigh Dickinson University Press, 2010. 137-157.

Consonni, Stefania. “A Sculptor’s Sense of Words’: Don DeLillo’s Neo-Realism and the Three-Dimensionality of Narrative Plots.” The Hand of the Interpreter: Essays on Meaning After Theory. Eds. G. F. Mitrano and Eric Jarosinski. Oxford: Peter Lang, 2009. 329-360.

Cvek, Sven. Towering Figures: Reading the 9/11 Archive. Amsterdam: Rodopi, 2011. (Include chapter 6: The Market Moves Us in Mysterious Ways. 123-150; chapter 7: Cosmopolis : A Meditation on Deterritorialization 151-210 ; chapter 8: Killing Politics: The Art of Recovery in Falling Man 181-210.)

doCarmo, Stephen N. “Subjects, Objects, and the Postmodern Differend in Don DeLillo’s White Noise.” History and Refusal Consumer Culture and Postmodern Theory in the Contemporary American Novel. Bethlehem: Lehigh University Press, 2009. 150-192.

Ferguson, Robert A. “Don DeLillo and Marilynne Robinson Mourn Loss.” Alone in America: The Stories that Matter. Cambridge, Harvard University Press, 2013. 201-230. [Falling Man in contrast with Robinson’s Gilead].

Fiedorczuk, Julia. “Against Simulation: ‘Zen’ Terrorism and the Ethics of Self-Annihilation in Don DeLillo’s Players.” Ideology and Rhetoric: Constructing America. Ed. Bozena Chylinska. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009. 41-50.

Fujii, Hikaru. “Time and Again: The Outside and the Narrative Pragmatics in Don DeLillo’s The Body Artist.Outside, America. The Temporal Turn in Contemporary American Fiction. New York, Bloomsbury, 2013. 83-93.

Gardaphé, Fred L.. “(Ex)Tending or Escaping Ethnicity: Don DeLillo and Italian/American Literature.” Beyond The Margin: Readings in Italian Americana. Paolo Giordano and Anthony Julian Tamburri (Eds.). Fairleigh Dickinson University Press, 1998. 131-151.

Gauthier, Marni. Amnesia and Redress in Contemporary American Fiction. Counterhistory. Palgrave Macmillan, 2011. [Chapter 2 entitled “‘The Downfall of the Empire and the Emergence of Detergents’: Underhistory in Don DeLillo’s Historical Novels”, (41-67) addresses Americana, Libra and Underworld]. Chapter 6 “Truth-telling Fiction in a Post-9/11 World: Don DeLillo’s Falling Man and Julie Otsuka’s When the Emperor Was Divine” (151-182).

Gourley, James. “‘Whenever said said said missaid’: Diminshment in Beckett’s Worstward Ho and DeLillo’s The Body Artist.” Anthony Uhlmann, (ed.), Literature and Sensation. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009.

Greenspan, Daniel. « Don DeLillo: Kierkegaard and the Grave in the Air », in Jon Stewart (Ed.), Kierkegaard’s Influence on Literature, Criticism and Art Volume 12, Tome IV (The Anglophone World), 2013. 81-100.

Hamdy, Noha. “Revisiting Transmediality : 9/11 Between Spectacle and Narrative”. Semiotic Encounters: Text, Image and Trans-nation. Sarah Säckel, Walter Göbel, Noha Hamdy (Eds). Amsterdam, Rodopi, 2009. 247- ? [Falling Man]

Hodgkins, John. “An Epidemic of Seeing: DeLillo, Postmodernism, and Fiction in the Age of Images.” The Drift: Affect, Adaptation, and New Perspectives on Fidelity. New York, Bloomsbury, 2013: 53-76. [adresses only Underworld]

Hornung, Alfred. “Terrorist Violence and Transnational Memory: Jonathan Safran Foer and Don DeLillo.” Transnational American Memories. Ed. Udo Hebel. Berlin: De Gruyter, 2009. 171-83.

Hungerford, Amy. Postmodern Belief. American Literature and Religion Since 1960. Chapter 3 “The Latin Mass of Language. Vatican II, Catholic Media, Don DeLillo”. Princeton: Princeton University Press, 2010. 52-75.

Jarniewicz, Jerzy. “Don DeLillo, or Writing as a Form of Thinking.” Znaki firmowe. Szkice o współczesnej prozie amerykańskiej i kanadyjskiej. Kraków: Wydawnictwo Literackie, 2007: 166-135. (in Polish).

Kelman, David. “Catachrestic Tales, or What is a Political Event? (DeLillo)”. Counterfeit Politics: Secret Plots and Conspiracy Narratives in the Americas. Bucknell University Press, 2012.

Klepper, Martin. Pynchon, Auster, DeLillo. Die amerikanische Postmoderne zwischen Spiel und Rekonstruktion. Campus Verlag, 1996. 320-363 [White Noise].

Kociatkiewicz, Justyna. “Trying to Exercise One’s Freedom: Mrs. Oswald’s Voice in Don DeLillo’s Libra.” American Freedoms, American (Dis)Orders. Ed. Zbigniew Lewicki. Warszawa: American Studies Center, 2006. 23-30.

Kociatkiewicz, Justyna. “Don DeLillo’s Rhetoric of Exhaustion and Ideology of Obsolescence: The Case of Cosmopolis.” Ideology and Rhetoric: Constructing America. Ed. Bozena Chylinska. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009. 29-40.

Kociatkiewicz, Justyna. “History as Loss, History as Waste: American Twentieth Century in the Novels of Bellow and DeLillo.” The American Uses of History: Essays on Public Memory. Eds. Tomasz Basiuk, Sylwia Kuzma-Markowska, and Krystyna Mazur. Frankfurt am Main: Peter Lang, 2011. 235-244.

Kociatkiewicz, Justyna. “The Problems of Language and Communication in Don DeLillo’s The Names.” New Developments in English and American Studies: Continuity and Change. Eds. Zygmunt Mazur and Teresa Bela. Krakow: Universitas, 1997. 333-346.

Kolbuszewska, Zofia. “Looping Out of a Postmodern Vicious Circle: White Noise, (Neo)Romantic Child and Autopoetics.” Structure and Uncertainty. Eds. Ludmila Gruszewska Blaim and Artur Blaim. Maria Curie-Sklodowska University Press, 2008. 47-64.

Ladino, Jennifer K. Reclaiming Nostalgia. Longing for Nature in American Literature. Charlottesville and London, University of Virginia Press, 2012. [Chapitre 5: Don DeLillo’s Postmodern Homesickness: Nostalgia after the End of Nature (163-187)].

Landgraff, Edgar. “Black Boxes and White Noise. Don DeLillo and the Reality of Literature”. Addressing Modernity: Social Systems Theory and U.S. Cultures. Hannes Bergthaller (Ed.). Amsterdam, Rodopi, 2011. 86-112.

Little, William G.. The Waste Fix: Seizures of the Sacred from Upton Sinclair to “The Sopranos”. New York and London: Routledge, 2002: 93–116. [White Noise].

Martin-Salvan, Paula. “Community and Otherness: The Representation of Terrorists in Don DeLillo’s Fiction.” Eds. Sylvie Mathé & Sophie Vallas. European Perspectives on the Literature of 9/11. Paris, Michel Houdiard, 2014. 81-96.

Maslowski, Maciej. “‘Like nothing in this life’: The Concept of Historic Time in Don DeLillo’s Falling Man.” The American Uses of History: Essays on Public Memory. Eds. Tomasz Basiuk, Sylwia Kuzma-Markowska, and Krystyna Mazur. Frankfurt am Main: Peter Lang, 2011. 245-254.

Maucione, Jessica. “Don DeLillo’s Cosmopolis and the Nostalgic Spatio-Linguistics of America’s Global City.” Literature of New York. Ed. Sabrina Fuchs-Adams. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009. 151-166.

Meurer, Ulrich. “Somatic Narratives: Don DeLillo’s The Body Artist and the Invention of a Metastable Self”. Susanne Kollmann, Kathrin Schödel (eds.). Postmoderne De/Konstruktionen. Ethik, Politik und Kultur am Ende einer Epoche. Diskursive Produktionen 7, Münster: Lit, 2004. 229-241.

Meurer, Ulrich. “Double-Mediated Terrorism: Gerhardt Richter and Don DeLillo’s ‘Baader-Meinhof’”, Michael C. Frank, Eva Gruber (eds.): Literature and Terrorism. Amsterdam: Rodopi, 2012: 175-194.

Michael, Magali Cornier. “Don DeLillo’s Falling Man: Countering Post-9/11 Narratives of Heroic Masculinity.” Portraying 9/11: Essays on Representations in Comics, Literature, Film and Theatre. Ed. Véronique Bragard, Christophe Dony, and Warren Rosenberg. Jefferson, NC: McFarland, 2011. 73–88.

Misztal, Arkadiusz. “Articulating the Time-Experience: Scientific and Parascientific Images of Time in Ratner’s Star by Don DeLillo.” American Experience – The Experience of America. Eds. Andrzej Ceynowa and Marek Wilczynski. Frankfurt am Mein: Peter Lang, 2013. 207-212.

Muller, Christin. “Fate and Terror in Don DeLillo’s Falling Man.” Engaging Terror: A Critical and Interdiscplinary Approach. M. Vardalos, G. K. Letts, H.M. Teixeira, A. Karzai, J. Haig (Eds.) Boca Raton: Brown Walker Press, 2009. 167-174.

Naas, Michael. “Autonomy, Autoimmunity, and the Stretch Limo: From Derrida’s Rogue State to DeLillo’s Cosmopolis.” Derrida From Now On. New York: Fordham University Press, 2008. 147-166.

Norton, Charly. “Terror as Text: DeLillo’s Falling Man and the Representation of Poker as Terror.” Engaging Terror: A Critical and Interdiscplinary Approach. M. Vardalos, G. K. Letts, H.M. Teixeira, A. Karzai, J. Haig (Eds.) Boca Raton: Brown Walker Press, 2009: 175-184.

Parrish, Timothy. “History after Henry Adams and Ronal Reagan: Joan Didion’s Democracy and Don DeLillo’s Underworld.” From the Civil War to the Apocalypse: Postmodern History and American Fiction. Amherst: University of Massachusetts Press, 2008. 193-231.

Paryz, Marek. “Dangerous Liaisons (Don DeLillo’s Players).” 157-161 and “Entanglements (Don DeLillo’s Mao II).” 162-166 and “Free Fall (Don DeLillo’s Falling Man).” 167- 171. Od Ralpha Ellisona do Jhumpy Lahiri. Szkice o prozie amerykańskiej XX i początku XXI wieku. Warszawa: Warsaw University Press, 2011 (in Polish).

Phillips, Thomas. “Echenoz, Fabre, DeLillo.” The Subject of Minimalism: On Aesthetics, Agency and Becoming. New York, Palgrave Macmillan, 2013. 73-92 [The Body Artist].

Polley, Jason S.. Jane Smiley, Jonathan Franzen, Don DeLillo. Narrative of Everyday Justice.  New York: Peter Lang Publishing, 2011. 175-242.

Rochlitz, Rainer. L’art au banc d’essai: esthétique et critique. Paris: Gallimard, 1998. 259-302 [Mao II].

Rosen, Elizabeth K. “All the Expended Faith: Apocalyptism in Don DeLillo’s Novels.” Apocalyptic Transformation: Apocalypse and the Postmodern Imagination. Plymouth: Lexington Books, 2008. 143-173.

Rossini, Jon D. “DeLillo, Performance, and the Denial of Death.” Death in American Texts and Performances: Corpses, Ghosts, and the Reanimated Death. Eds. Lisa K. Perdigao and Mark Pizzato. Ashgate Publishing Limited: Surrey, 2010. 45-62.

Ruckh, W. Eric. “Theorizing Globalization: At the Intersection of Bataille’s Solar Economy, DeLillo’s Underworld and Hardt’s and Negri’s Empire.” European Culture in a Changing World: Between Nationalism and Globalism. Daniel Meyer-Dinkgräfe (Ed.). Amersham: Cambridge Scholars Press, 2004. 117-139.

Russo, John Paul. “Don DeLillo: Ethnicity, Religion, and the Critique of Technology.” The Future without a Past: The Humanities in a Technological Society. Columbia and London: University of Missouri Press, 2005. 211-242.

Sample, Mark L. “Don DeLillo and the Failiure if the Digital Humanities.” Matthew K. Gold (Ed.) Debates in the Digital Humanities. Minneapolis, University of Minnesota Press, 2012. 187-201.

Schryer, Stephen. “Don DeLillo’s Academia. Revisiting the New Class in White Noise”. Fantasies of the New Class: Ideologies of Professionalism in Post-World War II Amreican Fiction. New York: Columbia University Press, 2011: 167-192.

Smethurst, Paul. “The Trope of Placelessness: Graham Swift, Out of this World, Don DeLillo, Ratner’s Star and The Names.” The Postmodern Chronotope. (Eds. Theo D’haen and Hans Bertens). Amsterdam: Rodopi, 2000. 267–309.

Smith, Les W.. “Author’s Confession Of: Mao II”. Confession in the Novel Bakhtin’s Author Revisited. 122-147. [Mao II]

Storhoff, Gary. “A Deeper Kind of Truth: Buddhist Themes in Don DeLillo’s Libra.Writing as Enlightenemnt: Buddhist American Literature into the Twenty-First Century. Edited by John Whalen Bridge. Albany: State University of New York, 2011. 109-132

Taylor, Mark C. Rewiring the Real: In Conversation with William Gaddis, Richard Powers, Mark Danielewski, and Don DeLillo (Religion, Culture, and Public Life). Columbia University Press, 2013. [chapter 4 entitled “Holy Shit!” deals with Underworld]. 156-249.

Treguer, Florian. “La neutralisation des sujets chez Don DeLillo.” Les Représentations de la mort. Bernard-Marie Garreau (Ed.). Rennes: Presses Universitaires de Rennes, 2002. 277-294. [“Neutralizing the Subjects in DeLillo’s Works”].

Vukovich, Daniel F. “DeLillo, Warhol, and the Specter of Mao. The ‘Sinologization of Global Thought.’” China and Orientalism. Western Knowledge Production and the P.R.C. Routledge, 2012. 87-99. [Mao II]

Webb, Jen. “Fiction and Testimony in Don DeLillo’s Falling Man.” International Life Writing. Memory and Identity in Global Context. Paul Longley Arthur (Ed.). Routledge, 2013: 91-105.

Wolf, Philipp. Modernization and the crisis of Memory. John Donne to DeLillo. Costerus New Series 139. Amesterdam: Rodopi, 2002. 169-192 [Underworld].

  • Articles

Abe, Naomi. “Triangulation and Gender Perspectives in Falling Man by Don DeLillo”. Altre Modernità Rivista di studi letterari e culturali 6 (November 2011): 65-75.

Baelo-Allué, Sonia. “9/11 and the Psychic Trauma Novel Don DeLillo’s Falling Man.” Atlantis : Journal of the Spanish Association of Anglo-American Studies 34.1 (June 2012): 63-79.

Bartczak, Kacper. “Technology and the Bodily in Don DeLillo’s The Body Artist and Cosmopolis.” Polish Journal for American Studies 5 (2011): 111-126.

Bartczak, Kacper. “Escape.” Literatura 12 (1998): 21-23. (an essay on White Noise written in Polish).

Bartczak, Kacper. “Landscapes of Radical Self-Knowledge in Don DeLillo and John Ashbery.” Apocalypse Now: Prophecy and Fulfillment. Eds. Agnieszka Salska and Zbigniew Maszewski. Lodz: University of Lodz Press, 2001. 236-247.

Batt, Noëlle. “Fiction, Narration, Composition esthétique. Ou chercher la vérité de l’œuvre littéraire ? Point Omega de Don DeLillo”. “La vérité en fiction”, Théorie, Littérature, Enseignement n° 28. Vincennes: Presses Universitaires de Vincennes, 2012: 109-121.

Batt, Noëlle. “The Body Artist de Don DeLillo: le pas de deux de l’art et de la clinique”. Revue Française d’Études Américaines [French Review of American Studies] 132 (mars 2013): 63-74.

Bauer, Sylvie. “Emergence du réel dans How German Is It de Walter Abish et White Noise de Don DeLillo” [“The Emergence of the Real in Walter Abish’s How German Is It and Don DeLillo’s White Noise”] Confluences n°XIV (1997): 107-118.

Bjerre, Thomas Ærvold. “Post-9/11 Literary Masculinities in Kalfus, DeLillo, and Hamid.” Orbis litterarum 67.3 (2012): 241-266.

Boxall, Peter. “Late: Fictional Time in the Twenty-First Century.” Contemporary Literature 53.4 (Winter 2012): 681-712. [addresses Americana, Players, Underworld, The Body Artist, Cosmopolis and Point Omega].

Brauner, David. “‘The Days After’ and ‘the Ordinary Run of Hours’. Counternarratives and Double Vision in Don DeLillo’s Falling Man”, Review of International American Studies 3.3-4.1 (Winter 2008-Spring 2009): 72-81.

Caporale Bizzini, Silvia. “Resisting the postmodern historical vision: imag(in)ing history in Don DeLillo’s Libra”. The Atlantic Literary Review 2.1 (Jan.- March 2001): 119-136.

Carroll, Hamilton. “‘Like Nothing in this Life’: September 11 and the Limits of Representation in Don DeLillo’s Falling Man.” Studies in American Fiction 40.1 (Spring 2013): 107-130.

Conniff, Brian. “DeLillo’s Ignatian Moment: Religious Longing and Theological Encounter in Falling Man.” Christianity and Literature 63.1 (Autumn 2013): 47-73.

Cowart, David. “Don DeLillo and Postmodern History.” The Legacy of History: English and American Studies and the Significance of the Past. Vol. 1. Eds. Teresa Bela and Zygmunt Mazur. Krakow: Jagiellonian University Press, 2003: 13-32.

Cowart, David. “The Lady Vanishes: Don DeLillo’s Point Omega.” Contemporary Literature 53.1 (Spring 2012): 31-50.

Cruz, Daniel. “Writing Back, Moving Forward: Falling Man and DeLillo’s Previous Works.” Italian Americana 29.2 (Summer 2011): 138–52.

Cvek, Sven. “Killing Politics: The Art of Recovery in Falling Man”. Studia Romanica et Anglica Zagrabienssia LIV, (2009): 329-352.

Daanoune, Karim. “Passeurs, transpasseurs et outrepasseurs. La figure de l’enfant dans White Noise et The Names de Don DeLillo” [The Child as Conveyor in White Noise and The Names”]. La figure du Passeur. Transmission et mobilité culturelles dans les mondes anglophones. Eds. Pascale Antolin, Arnaud Schmitt, Susan Barrett & Paul Veyret. Pessac, Maison des Sciences de L’Homme d’Aquitaine, 2014. 279-292.

Daanoune, Karim. “Dialectics of Possibility and Impossibility. Writing the Event in Don DeLillo’s Falling Man.” Eds. Sylvie Mathé & Sophie Vallas. European Perspectives on the Literature of 9/11. Paris, Michel Houdiard, 2014. 70-80.

Daanoune, Karim. “’I feel located totally nowhere.’ Matérialité et immatérialité dans Cosmopolis de Don DeLillo” [Materiality and Immateriality in Don DeLillo’s Cosmopolis]. Eds. O. Boucher-Rivalain, P. Blin-Cordon, F. Martin-McInnes and F. Ropert. “L’étranger dans la ville.” Cahiers du CICC. Paris, L’Harmattan, 2013. 119-134.

Daniele, Daniela. “Coppie in dissolvenza: Don DeLillo e lo spazio psichico del trauma”. Altre Modernità Rivista di studi letterari e culturali 6 (November 2011): 47-64.

Daniele, Daniela. “The Achromatic Room: DeLillo’s Plays On and Off Camera.” Italian Americana 29.2 (Summer 2011): 167-180.

Daniele, Daniela. “The Missing Father, and Other Unhyphenated Stories of Waste and Beauty in Don(ald) DeLillo”, in “The Emerging Canon of Italian-American Literature”, eds. Leonardo Buonomo and John Paul Russo. RSA Journal 21-22 (2010-2011): 111-117.

Davidson, Ian. “Automobility, Materiality and Don DeLillo’s Cosmopolis.” Cultural Geographies 19.4 (2012): 469-482.

De Marco, Alessandra. “Late DeLillo, Finance Capital and Mourning from The Body Artist to Point Omega”. 49th Parallel 28 (Spring 2012)

De Marco, Alessandra. “‘Morbid tiers of immortality’: Don DeLillo’s Players and the financialisation of the USA.” Textual Practice 27.5 (August 2013): 875-898.

Den Tandt, Christophe. “Pragmatic Commitments: Postmodern Realism in Don DeLillo, Maxine Hong Kingston and James Ellroy.” Beyond Postmodernism: Reassassments in Literature, Theory, and Culture. Klaus Stierstorfer (Ed.). Berlin: Wlater de Gruyter, 2003: 121-142.

Devetak, Richard. “After the Event: Don DeLillo’s White Noise and September 11 Narratives.” Review of International Studies 35.4 (October 2009): 795-815.

Finigan, Theo. ““There’s Something Else That’s Generating This Event”: The Violence of the Archive in Don DeLillo’s Libra.” Critique: Studies in Contemporary Fiction 55.2 (2014): 187-205.

Greenwald Smith, Rachel. “Organic Shrapnel: Affect and Aesthetics in September 11 Fiction”. American Literature 83.1 (March 2011): 153-174. [Addresses Falling Man along with Hunt’s The Exquisite and Foer’s Extremely Loud and Incredibly Close].

Harack, Katrina. “Embedded and Embodied Memories: Body, Space, and Time in Don DeLillo’s White Noise and Falling Man.” Contemporary Literature 54.2 (Summer 2013): 303-336.

Heffernan, Nick. “’Money Is Talking to Itself: Finance Capitalism in the Fiction of Don DeLillo from Players to Cosmopolis.” Critical Engagements 1 (autumn 2007): 53-78.

Henneberg, Julian. “‘Something Extraordinary Hovering Just Outside Our Touch’: The Technological Sublime in Don DeLillo’s White Noise.aspeers 4 (2011): 51-73.

Heyne, Eric. “‘A Bruised Cartoonish Quality’: The Death of an American Supervillain in Don DeLillo’s Cosmopolis.” Critique: Studies in Contemporary Fiction 54.4 (2013): 438-451

Isaacson, Johanna. “Postmodern Wastelands: Underworld and the Productive Failures of Periodization.” Criticism 54:1 (Winter 2012): 29-58.

Keeble, Arin. “Marriage, Relationships, and 9/11: The Seismographic Narratives of Falling Man, The Good Life, and The Emperor’s Children. The Modern Language Review 106.2 (April 2011): 355-373.

Kohn, Robert E. Parody, “Heteroglossia, and Chronotope in Don DeLillo’s Great Jones Streets.Style 39.2 (Summer 2005), p206-216.

Leps, Marie-Christine. “How to Map the Non-place of Empire: DeLillo’s Cosmopolis.” Textual Practice 28.2 (March 2014): 305-327.

Levey, Nick. “Crisis and Control in Don DeLillo’s White Noise.” The Explicator 71.1 (2012): 11-13.

Ludwig, Kathryn. “Don DeLillo’s Underworld and the Postsecular in Contemporary Fiction.” Religion & Literature 41.3 (Autumn 2009): 82-91.

Marks, John. “’Everything is connected’”: Deleuze et DeLillo. Théorie – Littérature – Enseignement 19: Deleuze-chantier. Ed. Noëlle Batt. Saint Denis: Presses Universitaires de Vincennes, Université Paris 8, 2001: 77-93. [Underworld]

Marshall, Alan. “From This Point on It’s All about Loss: Attachment to Loss in the Novels of Don DeLillo, from Underworld to Falling Man.” Journal of American Studies 47.3 (August 2013): 621-636.

McCormick, Casey J. “Toward a Postsecular “Fellowship of Deep Belief”: Sister Edgar’s Techno-spiritual Quest in Don DeLillo’s Underworld.” Critique: Studies in Contemporary Fiction 54.1 (2013): 96-107.

Merola, Nicole M. “Cosmopolis: Don DeLillo’s Melancholy Political Ecology.” American Literature 84.4 (December 2012): 827-853.

Morris, David B.. “Environment: The White Noise of Health”. Literature and Medicine 15.1 (1996): 1-15.

Nagano, Yoshihiro. “Inside the Dream of the Warfare State: Mass and Massive Fantasies in Don DeLillo’s Underworld.” Critique: Studies in Contemporary Fiction 51.3 (Spring 2010): 241-256.

Naydan, Liliana M. “Apocalyptic Cycles in Don DeLillo’s Underworld”. LIT:Literature Interpretation Theory 23 (2012): 179 – 201

Noble, Stuart. “Don DeLillo and Society’s Reorientation to Time and Space: An Interpretation of Cosmopolis.” aspeers 1 (2008): 57-70.

Noon, David. “The Triumph of Death: National Security and Imperial Erasures in Don DeLillo’s Underworld.” Canadian Review of American Studies 37.1 (2007) 83-110.

Osteen, Mark. “Extraordinary Renditions: DeLillo’s Point Omega and Hitchcock’s Psycho.” Clues: A Journal of Detection 31.1 (2013): 103-13. Reprint “Extraordinary Renditions: DeLillo’s Point Omega and Hitchcock’s Psycho.” Hitchcock and Adaptation: On the Page and Screen. Savage, MD: Rowman & Littlefield, 2014. 261-77.

Osteen, Mark.“The Currency of DeLillo’s Cosmopolis.” Critique: Studies in Contemporary Fiction 55.3 (2014): 291-304.

Panzani, Ugo. “The insistent realism of Don DeLillo’s Falling Man and Paul Auster’s Man in the Dark”. Altre Modernità Rivista di studi letterari e culturali 6 (November 2011): 76-90.

Parish, Mary J. “9/11 and the Limitations of the Man’s Man Construction of Masculinity in Don DeLillo’s Falling Man.” Critique: Studies in Contemporary Fiction 53:3 (2012): 185-200

Pellegrin, Jean-Yves. “Le désordre du discours dans End Zone de Don DeLillo” [“The Disorder of Discourse in DeLillo’s End Zone”]. Revue Française d’Études Américaines  [French Review of American Studies] 76 (1998): 63-72.

Petersen, Per Serritslev. “Don DeLillo’s Cosmopolis and the Dialectics of Complexity and Simplicity in Postmodern American Philosophy and Culture.” American Studies in Scandinavia 37.2 (2005): 70-84.

Pirnajmuddin, Hossein and Borhan, Abbassali. “Postmodern Orientalized Terrorism: Don DeLillo’s The Names.” The Journal of Teaching Language Skills 3.2 (Summer 2011), Ser. 63/4: 58-84.

Pirnajmuddin, Hossein and Borhan, Abbassali. “Don DeLillo’s The Names.” The Explicator 70.3 (2012): 226 – 230.

Polatinsky, Stefan, and Scherzinger, Karen. “Dying Without Death: Temporality, Writing, and Survival in Maurice Blanchot’s The Instant of My Death and Don DeLillo’s Falling Man.” Critique: Studies in Contemporary Fiction 54.2 (2013): 124-134.

Robinson, Sally. “Shopping for the Real: Gender and Consumption in the Critical Reception of DeLillo’s White Noise.” Postmodern Culture 23.2 (January 2013).

Roger, Philippe. “Don DeLillo: la terreur et la pitié.” Critique 59.675-676 (2003): 554–570. [Cosmopolis]

Radia, Pavlina. “Doing the Lady Gaga Dance: Postmodern Transaesthetics and the Art of Spectacle in Don DeLillo’s The Body Artist.” Canadian Review of American Studies 44.2 (Summer 2014).

Rougé, Bertrand. “‘The Cloud tells you this…’. Pour une lecture diétrologique de Don DeLillo.” Transatlantica 1 (2002). [For a Dietrological Reading of Don DeLillo].

Savvas, Theophilus. “Don DeLillo’s ‘world inside the world.’ Libra and latent history.” European Journal of American Culture 29.1 (2010): 19-33.

Scherzinger, Karen. “‘A Deep Fold in the Grain of Things’: Mourning in Don DeLillo’s Falling Man.” Scrutiny 2 15.2 (2010): 17-30.

Schneck, Peter. “ ‘To see things before other people see them’. Don DeLillo’s Visual Poetics”. Amerikastudien [American Studies] 52.1, Transatlantic Perspective on American Visual Culture (2007): 103-120.

Shonkwiler, Alison. “Don DeLillo’s Financial Sublime.” Contemporary Literature 51.2 (Summer 2010): 246-282. [Cosmopolis]

Simon, Roger I. “Altering the ‘Inner Life of the Culture’: Monstrous Memory and the Persistence of 9/11.” The Review of Education, Pedagogy, and Cultural Studies 30.3 (2008): 352-374.

Spahr, Clemens. “Prolonged Suspension: Don DeLillo, Ian McEwan, and the Literary Imagination after 9/11.” Novel: A Forum on Fiction 45.2 (2012): 221-37.

Taveira, Rodney. “Don DeLillo, 9/11 and the Remains of Fresh Kills.” M/C Journal 13.4 (2010): n. pag.

Treguer, Florian.“Ordre et désordre du sens dans The Names (1982) de Don DeLillo”. Revue Imaginaires 8, “L’ambiguïté dans les littératures de langue anglaise.” Daniel Thomières (Ed.), Université de Reims, 2002: 207-222. [“Order and Disorder in Don DeLillo’s The Names”].

Wakui, Takashi. “Abstract Animation, Conceptual Art, and Don DeLillo’s Underworld: collectibles and non-collectibles in art.” Studies in Language and Culture 22.2 (2001): 263-277.

Wiese, Annjeanette. “Rethinking Postmodern Narrativity: Narrative Construction and Identity Formation in Don DeLillo’s White Noise“. College Literature 39.3 (Summer 2012): 1-25.

Wilcox, Leonard. “Don DeLillo’s Libra: History as Text, History as Trauma”. Rethinking History 9. 2/3 (June/September 2005): 337-353.

Announcing the Don DeLillo Society

This content transferred from the previous version of the Don DeLillo Society website (maintained by Phil Nel through Kansas State University).

TO: Readers and Scholars of Don DeLillo
FROM: The Don DeLillo Society
DATE: July 1, 1999

          We wish to announce the formation of the Don DeLillo Society and to invite your participation in it. The goal of the Don DeLillo Society is to promote matters of interest to DeLillo scholars and readers, and we plan to hold our first meeting at the 1999 MLA Conference in Chicago. However, in order to allow for full participation of the membership, important votes will be done by mail-in ballot. Though we have officers through the remainder of 1999, the next group of officers (which may include current officers, if they run and are elected) will serve three-year terms, starting January 1, 2000. Nominations must be received by October 1, 1999. Please include contact information for nominees. Any member of the Don DeLillo Society may submit nominations for any or all of these positions. We will hold elections in November or December of 1999. For more information, please see our website: http://www.cofc.edu/~nelp/delillo/.

          To join the Don DeLillo Society, send a check or money order made out to The Don DeLillo Society for $10.00 U.S. ($5.00 for students, retired, and unemployed) to:

Joseph Conte, Treasurer
The Don DeLillo Society
Department of English
306 Clemens Hall
SUNY at Buffalo
Buffalo, NY 14260-4610
Phone: (716) 645-2575, x1009
Email: jconte@acsu.buffalo.edu
Web: http://www.acsu.buffalo.edu/~jconte/

Please include your name, address (to which you’d like mailings sent), your College or University affiliation if any, and your email address. Membership will be for an academic year, running from September of one year through August of the next.

          Members of the Society receive email announcements of updates to the Don DeLillo Society’s website, including the Newsletter, an annual Bibliography of DeLillo Scholarship, upcoming events (including special sessions, calls for papers), and an annual updated list of members.

          The Society organizes one session at the ALA Conference each May and hosts an informal social gathering during the conference. This coming February (2000), we plan to sponsor a session at the Twentieth Century Literature Conference (read the Call for Papers at: http://www.cofc.edu/~nelp/delillo/events.html). In addition, the Society publishes an annual Newsletter, annual Bibliography of DeLillo Scholarship, and maintains a website: http://www.cofc.edu/~nelp/delillo/.


Glen Scott Allen, Towson University (sallen@towson.edu)
Theron Britt, University of Memphis (tbritt@memphis.edu)
Lou Caton, Auburn University (catonlf@mail.auburn.edu)
Joseph Conte, SUNY at Buffalo (jconte@acsu.buffalo.edu)
John N. Duvall, Purdue University (JDuvall@sla.purdue.edu)
Tim Engles, University of Georgia (tengles@parallel.park.uga.edu)
Phil Nel, College of Charleston (nelp@cofc.edu)
Mark Osteen, Loyola College (OSTEEN@VAX.LOYOLA.EDU)

No one sees the barn