Quote

People hurried past, the others of the street, endless anonymous, twenty-one lives per second, race-walking in their faces and pigments, sprays of fleetest being.

Don DeLillo

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Don DeLillo
Age: 88
Born: 1936
Born: November 20
Essayist
Journalist
Novelist
Playwright
Screenwriter
Writer
New York City
New York
Don Delillo
Donald Richard DeLillo
Streets
Hurried
Second
Anonymous
Race
Spray
Faces
Twenty
Lives
Twenties
Others
Endless
Sprays
Past
Street
Pigments
People
Walking
Pigment

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We commit our crimes at night and reveal ourselves in the high noon of studio lights.
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Everything is barely weeks. Everything is days. We have minutes to live.
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In the face of technology, everything becomes a little atavistic.
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I think fiction recues history from its confusions.
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I marched and I protested against the war in Vietnam, along with many, many thousands of others. But I never quite understood the bombs that were placed in science labs or office buildings.
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Everyone who does not live in Berlin lives in Brooklyn now.
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Everything that goes on in your whole life is a result of molecules rushing around somewhere in your brain.
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Why are homosexuals addicted to soap opera? Because our lives are a vivid situation.
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I think fiction comes from everything you've ever done, and said, and dreamed, and imagined. It comes from everything you've read and haven't read... I think my work comes out of the culture of the world around me. I think that's where my language comes from.
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World is supposed to mean something that's self-contained. but nothing is self-contained.
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To be a tourist is to escape accountability.
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The world is shrinking into a kind of technological funnel. I think people are drawn into their technological devices, and this becomes a kind of subjective universe, into which much of the rest of the world simply does not enter.
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I embarked on my life - I didn't do anything. I don't have an explanation.
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Fame and secrecy are the high and low ends of the same fascination.
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Plot a murder, you're saying. But every plot is a murder in effect. To plot is to die, whether we know it or not.
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There are two categories of writers, it could be said: The author who is just a voice, and the one who is also creating a picture. I belong to the latter, because I have an acute visual sense.
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Technology is lust removed from nature.
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In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.
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Off-camera lives are unverifiable.
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Out of some persistent sense of large-scale ruin, we kept inventing hope.
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