Дон Делилло — библиография

Трагедия 11 сентября 2001 года, увиденная глазами разных героев и в разных ракурсах. Клерк, выбирающийся из уже готовой обвалиться башни, террорист-угонщик, готовящийся к последнему полету, – и еще несколько персонажей, так или иначе вовлекаемых в трагические события. Впрочем, это, по сути, не столько рассказ о трагедии, сколько привычный американский “семейный” роман, в котором плавное течение жизни разбивается внешним вторжением, отчего линейное повествование рассыпается на структурно перемешивающиеся фрагменты.

В книге 28-летний миллиардер катит в лимузине по Манхэттену, направляясь к давнему парикмахеру своего отца, чтобы, не поверите, постричься, и на пути своем встречает разных занимательных персонажей. В частности, фигурируют в "Космополисе" некие наемные убийцы и голая жена героя.
Добраться же до места назначение герою мешают — пробки, вызванные проездом президентского кортежа, некая похоронная процессия, народный митинг и прочая.

Don DeLillo's reputation rests on a series of large-canvas novels, in which he's proven to be the foremost diagnostician of our national psyche. In The Body Artist, however, he sacrifices breadth for depth, narrowing his focus to a single life, a single death. The protagonist is Lauren Hartke, who we see sharing breakfast with her husband, Rey, in the opening pages. This 18-page sequence is a tour de force (albeit a less showy one than the author's initial salvo in Underworld)--an intricate, funny notation of Lauren's consciousness as she pours cereal, peers out the window, and makes idle chat. Rey, alas, will proceed directly from the breakfast table to the home of his former wife, where he'll unceremoniously blow his brains out.
What follows is one of the strangest ghost stories since The Turn of the Screw. And like James's tale, it seems to partake of at least seven kinds of ambiguity, leaving the reader to sort out its riddles. Returning to their summer rental after Rey's funeral, Lauren discovers a strange stowaway living in a spare room: an inarticulate young man, perhaps retarded, who may have been there for weeks. His very presence is hard for her to pin down: "There was something elusive in his aspect, moment to moment, a thinning of physical address." Yet soon this mysterious figure begins to speak in Rey's voice, and her own, playing back entire conversations from the days preceding the suicide. Has Lauren's husband been reincarnated? Or is the man simply an eavesdropping idiot savant, reproducing sentences he'd heard earlier from his concealment? DeLillo refuses any definitive answer. Instead he lets Lauren steep in her grief and growing puzzlement, and speculates in his own voice about this apparent intersection of past and present, life and death. At times his rhetoric gets away from him, an odd thing for such a superbly controlled writer. "How could such a surplus of vulnerability find itself alone in the world?" he asks, sounding as though he's discussing a sick puppy. And Lauren's performances--for she is the body artist of the title--sound pretty awful, the kind of thing Artaud might have cooked up for an aerobics class. Still, when DeLillo reins in the abstractions and bears down, the results are heartbreaking: Why shouldn't the death of a person you love bring you into lurid ruin? You don't know how to love the ones you love until they disappear abruptly. Then you understand how thinly distanced from their suffering, how sparing of self you often were, only rarely unguarded of heart, working your networks of give-and-take.
At this stage of his career, a thin book is an adventure for DeLillo. So is his willingness to risk sentimentality, to immerse us in personal rather than national traumas. For all its flaws, then, The Body Artist is a real, raw accomplishment, and a reminder that bigger, even for so capacious an imagination as DeLillo's, isn't always better. --James Marcus

The Angel Esmerelda is Don DeLillo's first collection of short stories, written between 1979 and 2011; in it he represents the wide range of human experience in contemporary America - and forces us to confront the uncomfortable shadows lurking in the background.
His characters are plagued by their own deep, often unconscious, longings; they are subjected to shocking violations, exposed to unexpected acts of terror. No matter whether he is focused upon the slums of New York or astronauts in orbit around the Earth, DeLillo chooses never to turn away from the unsettling manner in which humans are brought together.
These nine stories describe the extraordinary journey of a great American writer who changed the literary landscape.

Don DeLillo's seventh novel is an exotic thriller. Set mostly in Greece, it concerns a mysterious 'language cult' seemingly behind a number of unexplained murders. Obsessed by news of this ritualistic violence, an American risk analyst is drawn to search for an explanation. We follow his progress on an obsessive journey that begins to take over his life and the lives of those closest to him.
In addition to offering a series of precise character studies, The Names explores the intersection of language and culture, the perception of America from both inside and outside its borders, and the impact that narration has on the facts of a story. Meditative and probing, DeLillo wonders: how does one cope with the fact that the act of articulation is simultaneously capable of defining and circumscriptively restricting access to the self?

Eric Packer is a twenty-eight-year-old multi-billionaire asset manager. We join him on what will become a particularly eventful April day in turn-of-the-twenty-first-century Manhattan. He's on a personal odyssey, to get a haircut. Sitting in his stretch limousine as it moves across town, he finds the city at a virtual standstill because the President is visiting, a rapper's funeral is proceeding, and a violent protest is being staged in Times Square by anti-globalist groups. Most worryingly, Eric's bodyguards are concerned that he may be a target...
An electrifying study in affectlessness, infused with deep cynicism and measured detachment; a harsh indictment of the life-denying tendencies of capitalism; as brutal a dissection of the American dream as Wolfe's Bonfire or Ellis's Psycho, Don DeLillo's Cosmopolis is a caustic prophecy all too quickly realized.

The Body Artist begins with normality: breakfast between a married couple, Lauren and Rey, in their ramshackle rented house on the New England coast. Recording their delicate, intimate, half-complete thoughts and words, Don DeLillo proves himself a stunningly unsentimental observer of our idiosyncratic relationships. But after breakfast, Rey makes a decision that leaves Lauren utterly alone, or seems to.
As Lauren, the body artist of the title, becomes strangely detached from herself and the temporal world, the novel becomes an exploration of a highly abnormal grieving process; a fascinating expose of 'who we are when we are not rehearsing who we are'; and a rarefied study of trauma and creativity, absence and presence, isolation and communion.

Winner of the PEN/Faulkner Award, Mao II is the work of an ingenious writer at the height of his powers.
Bill Gray, a famous, reclusive novelist, emerges from his isolation when he becomes the key figure in an event staged to force the release of a poet hostage in Beirut.
As Bill enters the world of political violence, a nightscape of Semtex explosives and hostages locked in basement rooms, Bill's dangerous passage leaves two people stranded: his brilliant, fixated assistant, Scott, and the strange young woman who is Scott's lover - and Bill's.
An extraordinary novel from Don DeLillo about words and images, novelists and terrorists, the mass mind and the arch-individualist, Mao II explores a world in which the novelist's power to influence the inner life of a culture now belongs to bomb-makers and gunmen.

How strange it is. We have these deep terrible lingering fears about ourselves and the people we love. Yet we walk around, talk to people, eat and drink. We manage to function. The feelings are deep and real. Shouldn't they paralyze us?
Jack Gladney is the creator and chairman of Hitler studies at the College-on-the-Hill. This is the story of his absurd life; a life that is going well enough, until a chemical spill from a train carriage releases an 'Airborne Toxic Event' and Jack is forced to confront his biggest fear - his own mortality.
White Noise is an effortless combination of social satire and metaphysical dilemma in which Don DeLillo exposes our rampant consumerism, media saturation and novelty intellectualism. It captures the particular strangeness of life lived when the fear of death cannot be denied, repressed or obscured and ponders the role of the family in a time when the very meaning of our existence is under threat.

Dealey Plaza, Dallas, Texas. Friday, November 22, 1963. 12.30 PM.
Shots ring out. A president dies. And a nation is plunged into psychosis.
Don DeLillo's extraordinary Libra is a brilliant reimagining of the events and people surrounding the assassination of President John F. Kennedy. Concentrating on the lives of Lee Harvey Oswald, some rogue former spooks unhappy with Kennedy's presidency, and Nicholas Branch, a CIA archivist, trying to make sense of or draw inferences from the mass of information after the assassination, Libra presents an unapologeticly provocative picture of America in the second half of the last century.

An unparalleled work of historical conjecture, ranging imaginatively over huge tracts of the American popular consciousness, Don DeLillo's Libra contains an introduction by the author in Penguin Modern Classics.
In this powerful, eerily convincing fictional speculation on the assassination of President John F. Kennedy, Don DeLillo chronicles Lee Harvey Oswald's odyssey from troubled teenager to a man of precarious stability who imagines himself an agent of history. When "history" presents itself in the form of two disgruntled CIA operatives who decide that an unsuccessful attempt on the life of JFK will galvanize the nation against Communism, the scales are irrevocably tipped.
Don DeLillo (b.1936) was born and raised in New York City. Americana (1971), his first novel, announced the arrival of a major literary talent, and the novels that followed confirmed his reputation as one of the most distinctive and compelling voices in late-twentieth-century American fiction. DeLillo's comic gifts come to the fore in White Noise (1985), which won the National Book Award, Underworld (1997), hailed by Martin Amis as 'the ascension of a great writer', Cosmopolis (2003), adapted into a film by David Cronenberg, due to be released later this year, and Falling Man (2007), a novel about the aftereffects of the 9/11 terrorist attacks in New York.

Перевод выполнен по публикации в журнале The New Yorker за август 2017 г.

?sna tavaline noormees Jeffrey satub oma multimiljon?rist isa kutsel Kasahstani asustamata umbsoppi, tohutusse akendeta tehnoloogilisse kompleksi, kus ?lirikkad inimesed lasevad end k?lmutada, et v?ita surma ja ?rgata kunagi paremasse tulevikumaailma. Jeffrey kasuema Artis, kes p?eb ravimatut haigust, soovib end k?lmutada. Hiljem, suutmata leinast ?le saada, laseb end k?lmutada ka Jeffrey isa. Lugu kirjeldabki Jeffrey p??et toimuvat m?ista ning inimese ja maailma suhet meie k?rgtehnoloogilisel ajastul.„Null K” on mitmekihiline ja m?neti irooniline romaan t?nap?eva maailmast, religioonist, v??randumisest, maailma l?pust, s?dametunnistusest ja surmast. Teose keskmes on inimese p??dlused ja unistused ning suutlikkus maailmast v?i ka iseendast aru saada.Don DeLillo (snd 1936) on USA kirjanik, n?itekirjanik, stsenarist ja esseist. 2016. aastal ilmunud „Null K” on autori 16. romaan. Eesti lugejale pole DeLillo tundmatu: tema romaani „Valge m?ra” (1985) eestindus ilmus 2005. aastal.„Keel, millega DeLillo kui tahes irooniliselt v?i siiralt kujutab n??disaegset tehnokultuurilist v??randumust, on esteetiliselt absoluutselt nauditav ja kirjanduslikult v?ga k?rgel tasemel.” Jaak Tomberg, Sirp

New York, ?ks aprillip?ev aastal 2000. 28-aastane multimiljon?r Eric Packer s?idab oma kuulikindla limusiiniga p?iki l?bi Manhattani saare, kohtub sel teekonnal v?rvika inimgaleriiga ja sattub tunnistajaks nii m?nelegi tavatule s?ndmusele. Packer armastab kiiret s?itu kapitalistliku ?ri laineharjal, talle meeldib manipuleerida inimeste ja rahaga, planeerida ja ennustada. Selle aprillip?eva l?pp on aga ootamatu temalegi. DeLillo napp lause tungib meisterlikult tegelase m?tete ja ulmade maailma ning lahkab uue aastatuhande alguse vaimu.