In novel after award-winning novel, Don DeLillo (b. 1936)
exhibits his deep distrust of language and the way it can conceal
as much as it reveals. Not surprisingly, DeLillo treats interviews
with the same care and caution. For years, he shunned them
altogether. As his fiction grew in popularity, especially with
"White Noise," and he began to confront the historical record of
our times in books such as "Libra," DeLillo felt compelled to make
himself available to his readers. Despite claims by interviewers
about his elusiveness, he now hides in plain sight.
In "Conversations with Don DeLillo," the renowned author makes
clear his distinctions between historical fact and his own creative
leaps, especially in his masterwork, "Underworld." There it seems
the true events are unbelievable and imaginary ones not. Throughout
long profiles and conversations-ranging from 1982 to 2001 and
published in the "New Yorker," the "Paris Review," and "Rolling
Stone"-DeLillo parries personal inquiries. He counters with the
details of his work habits, his understanding of the novelist's
role in the world, and his sense of our media-saturated culture. A
number of interviews detail DeLillo's less-heralded work in the
theater, from "The Day Room" to a recent production of
"Valparaiso," itself a stinging satire on the interviewing
process.
DeLillo also finds time to comment on his nonliterary passions,
primarily the movies and baseball. Lee Harvey Oswald also inspires
much extraliterary discussion, not just as the subject of "Libra,"
but as a figure who, like the terrorists always lurking in
DeLillo's fictions, captures our attention in ways novelists
cannot. For DeLillo, a writer who eschews celebrity, the ultimate
response might be the one he offered in his very first interview,
paraphrasing Joyce: "Silence, exile, cunning, and so on. It's my
nature to keep quiet about most things." Fortunately for his many
readers and fans, he proves himself here to be a talker.
Thomas DePietro is an independent scholar based in Eastchester,
New York. His work has been published in "Kirkus Reviews," the
"Hudson Review," "Commonweal," and other periodicals.
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