Stasis, paradoxically, has become the animating force of his plots. But his recent stretch of post- Underworld metaphysical anti-thrillers- The Body Artist, Cosmopolis, Falling Man-has reached a whole new level of inertia they make his early talky masterpieces ( White Noise, The Names) look like Jean-Claude Van Damme movies. DeLillo has never been celebrated for his rippin’ yarns. Over the last ten years, Don DeLillo has become determined to solve one of the great riddles of the ancient art of storytelling: What is the slowest speed at which a plot can move before it stops moving altogether, thereby ceasing to function as a plot? And what kind of quantum transformations might take place at that moment of absolute-zero narrative momentum? This obsession is not exactly new. Photo: Arun Nevader/WireImage/Getty Images
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