Don DeLillo after the Millennium: Currents and Currencies examines all the author’s work published in the 21st century: The Body Artist, Cosmopolis, Falling Man, Point Omega, and Zero K, the plays Love-Lies-Bleeding and The Word for Snow, and the short stories in The Angel Esmeralda. What topic doesn’t DeLillo tackle? Cyber-capital and currency markets, ontology and intelligence, global warming and cryogenics, Don DeLillo continues to ponder the significance of present cultural currents and to anticipate the waves of the future. Performance art and ethics, drama and euthanasia, space studies and the constrictions of time, DeLillo perspicaciously reads our culture, giving voice to the rhythms of our vernacular and diction. Rich and resonant, his work is so multifaceted in its attention that it accommodates a wide variety of critical approaches while its fine and filigreed prose commends him to a poetic appreciation as well. Don DeLillo after the Millennium brings together an international cast of scholars who examine DeLillo’s work from many critical perspectives, exploring the astonishing output of an author who continues to tell our stories and show us ourselves.

Don DeLillo is widely regarded as one of the most significant, and prescient, writers of our time. Since the 1960s, DeLillo's fiction has been at the cutting edge of thought on American identity, globalization, technology, environmental destruction, and terrorism, always with a distinctively macabre and humorous eye. Don DeLillo: Contemporary Critical Perspectives brings together leading scholars of the contemporary American novel to guide readers through DeLillo's oeuvre, from his early short stories through to 2016's Zero K, including his theatrical work. As well as critically exploring DeLillo's engagement with key contemporary themes, the book also includes a new interview with the author, annotated guides to further reading, and a chronology of his life and work.

Don DeLillo has spent his career reflecting upon the creative processes of artists. In recent years he has become increasingly drawn to spectators and how they project and indulge their own private obsessions through art. The Self-Reflexive Art of Don DeLillo is the first book devoted to this dimension of DeLillo's art. It is also the first book to identify and analyze a signature DeLillo motif: the embedded author. In multiple novels, short stories, and plays, DeLillo inserts a character subtly implied as the creator of the very narrative we are reading or watching. Spanning his entire career but focusing primarily on his work from Underworld (1997) to Zero K (2016), The Self-Reflexive Art of Don DeLillo breaks important new ground in DeLillo studies.

This book offers the first systematic study of death in the later novels of Don DeLillo. It focuses on Underworld to The Silence, along with his 1984 novel White Noise, in which the fear of death dominates the protagonists most hauntingly. The study covers eight novels, which mark the development of one of the most philosophical and prestigious novelists writing in English. Death, in its close relation to time, temporality and transience, has been an ongoing subject or motif in Don DeLillo’s oeuvre. His later work is shot through with the cultural and sociopsychological symptoms and responses death elicits. His "reflection on dying" revolves around defensive mechanisms and destruction fantasies, immortalism and cryonics, covert and overt surrogates, consumerism and media, and the mortification of the body. His characters give themselves to mourning and are afflicted with psychosis, depression and the looming of emptiness. Yet writing about death also means facing the ambiguity and failing representability of "death." The book considers DeLillo’s use of language in which temporality and something like "death" may become manifest. It deals with the transfiguration of time and death into art, with apocalypse as a central and recurring subject, and, as a kind of antithesis, epiphany. The study eventually proposes some reflections on the meaning of death in an age fully contingent on media and technology and dominated by financial capitalism and consumerism. Despite all the distractions, death remains a sinister presence, which has beset the minds not only of DeLillo’s protagonists.

Don DeLillo is one of the most important novelists of the late twentieth and early twenty-first century. Yet despite DeLillo's prolific output and scholarly recognition, much of the attention has gone to his works individually, rather than collectively or thematically. This volume provides separate entries into the wide variety and categories of contexts that surround and help illuminate DeLillo's writings. Don DeLillo in Context examines how geography, biography, history, media studies, culture, philosophy, and the writing process provide critical frameworks and ways of reading and understanding DeLillo's prodigious body of work.

This collection aims to examine the relationship between American fiction and innovations that marked the first decades of the 21st century: the Internet, social media, smart objects and environments, artificial intelligence, nanotechnologies, genetic engineering and other biotechnologies, transhumanism. These technological innovations redefine the way we live in and imagine our world, interact with each other and understand the human being in his or her ever closer relationship to the machine a human being no longer, as in the past, cared for or repaired, but now enhanced or replaced. What about our artistic and cultural practices? Are these recent advances changing language and literature? How is fiction transformed by technological progress and what representations of progress can it oppose? Can fiction offer a critique of the new media and the upheavals they precipitate? How does the temporality of literature respond to a technical time subjected to the imperative of efficiency, where the present is a slave to the future? Do virtual worlds challenge the primacy of literary fiction as a privileged mode of escape from daily life? In a context where software can generate literary works, can the force of poetical advent still oppose algorithmic logics? What becomes of the body in a world in which its technical extensions increase the externalization of its cognitive functions in media artifacts and digital networks? In order to explore these questions, scholars here investigate the American fiction of Russell Banks, Don DeLillo, David Foster Wallace, Jonathan Lethem, Tao Lin, Richard Powers, Kenneth Goldsmith, Jennifer Egan or Jonathan Franzen as well as the Cyberpunk genre and the Neuronovel.

The National Book Award-winning classic from the author of Underworld and Libra, now a major motion picture starring Adam Driver and Greta Gerwig White Noise tells the story of Jack Gladney, his fourth wife, Babette, and four ultra­modern offspring as they navigate the rocky passages of family life to the background babble of brand-name consumerism. When an industrial accident unleashes an "airborne toxic event," a lethal black chemical cloud floats over their lives. The menacing cloud is a more urgent and visible version of the "white noise" engulfing the Gladneys—radio transmissions, sirens, microwaves, ultrasonic appliances, and TV murmurings—pulsing with life, yet suggesting something ominous. For more than sixty-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.