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In the face of technology, everything becomes a little atavistic.

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
Little
Everything
Atavistic
Becomes
Technology
Face
Faces
Littles

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Human existence had to have a deeper source than our own dank fluids. Dank or rank. There had to be a force behind it, a principal being who was and is and ever shall be.
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Because friends have to be brutally honest with each other. I'd feel terrible if I didn't tell you what I was thinking, especially at a time like this
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The smoke alarm went off in the hallway upstairs, either to let us know the battery had just died or because the house was on fire.
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Too much has been forgotten in the name of memory.
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To portray America over the past twenty years or so, I would think immediately of football, probably the Super Bowl in its sumptuous suggestion of a national death wish.
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I see contemporary violence as a kind of sardonic response to the promise of consumer fulfilment in America.
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Bloomberg weighed three hundred pounds. This itself was historical. I revered his weight. It was an affirmation of humanity's reckless potential it went beyond legend and returned through mist to the lovely folly of history. To weigh three hundred pounds. What devout vulgarity.
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The term itself--my life--is a desperate overstatement.
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It's my contention that each book creates its own structure and its own length. I've written three or four slim books. It may be that the next novel is a big one, but I don't know.
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The question of dying becomes a wise reminder. It cures us of our innocence of the future.
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Why is it so hard to be serious, so easy to be too serious?
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And what's the point of waking up in the morning if you don't try to match the enormousness of the known forces in the world with something powerful in your own life?
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It frequently happens that I begin a novel with just a visual image of something, a vague sense of people in three dimensional space.
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There is a set of balances and rhythms to a novel that we can't experience in real life. So I think there is a sense in which fiction can rescue history from confusion.
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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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In these night recitations we create a space between things as we felt them at the time and as we speak them now. This is the space reserved for irony, sympathy and fond amusement, the means by which we rescue ourselves from the past.
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A photograph is a universe of dots. The grain, the halide, the little silver things clumped in the emulsion. Once you get inside a dot, you gain access to hidden information, you slide into the smallest event. This is what technology does. It peels back the shadows and redeems the dazed and rumbling past. It makes reality come true.
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I have only a bare working knowledge of the human brain but it's enough to make me proud to be an American.
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The world isn't going to be destroyed, but you don't feel safe anymore in your plane or train or office or auditorium.
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Just because it's on the radio doesn't mean we have to suspend belief in the evidence of our senses.
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