Tag Archives: Postmodern Fiction

ZERO K – Don DeLillo (2016)

Zero KWhen I learned that the author of White Noise – a staple of postmodernism – had written a science fiction novel, I was delighted. I thought White Noise was funny and profoundly human, a rare five star book really, so what would he do with a book on cryogenics? Most reviewers agreed that this new book was DeLillo’s best since Underworld – his big American masterwork – so that only made me more eager.

Calling Zero K science fiction is a bit of a stretch: companies that offer to freeze your body in the hope of future medical advances do exist, and have for quite some time. There is an amount of scientific speculation in Zero K, but do not expect the technology or the science to be the focus. Not that this matters much – SF readers with an open mind will find much to savor here.

The book’s structure is set up to lure the regular SF reader in: the bulk of the world building – so to say – happens in the first half of the book. We are introduced to The Convergence, a remote and secret compound where wealthy people choose to be frozen. The subdued sense of wonder is real, and the scenes, like the compound’s structures itself, are strange, detached, and at times even reminded me of Kafka. When it slowly turns out this book is not really a science fiction novel, but something entirely of its own, I couldn’t care less about its classification, and was entirely hooked.

A few chapters in I was more curious about DeLillo himself, and I read up on him before I continued. It entirely changed the way I framed the book: DeLillo was 79 years old when Zero K was published. Continue reading

WHITE NOISE – Don DeLillo (1985)

white-noiseWhite Noise is a famous novel. It’s one of the prime examples of postmodern literature, and it’s the book that made Don DeLillo big. It won the National Book Award for Fiction in 1985 – Ursula Le Guin’s Always Coming Home was nominated as well. It’s been analyzed to death: there are editions with the novel’s text & criticism side to side.

So yes, indeed, all of the stuff you have read about White Noise is true. There’s irony. Critique on television. Critique of consumer society. A lot of enumerations of consumer products. Enumerations of other stuff. Tiny snippets of commercials, documentaries, radio news, manuals. A protagonist that has been married 5 times to 4 women and who’s a professor in Hitler studies. Musings about death. Stuff about popular culture. General stuff. Specific stuff. Bleak stuff. American stuff. Meta stuff. 310 pages and about 10 meta lines for the literature post grad to feast upon. The novel is self-aware indeed.

I thought that when tradition becomes too flexible, irony enters the voice. Nasality, sarcasm, self-caricature and so on.

A description like that might be off putting to some. But it also misses the point, as postmodern meta-ness is not even the novel’s strength: it’s all fairly transparent anyway. What’s missing in most of the scholarly analysis I’ve read, is the humanity that underlies it all. White Noise, for me, was first and foremost a book with remarkable and deep emotional understanding of family life and fatherhood. Continue reading