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EbookBell Team
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0 reviewsAuthor: Nicholas Wright
The following thesis represents an attempt to account for the novelist Don DeLillo’s last three novels (Underworld (1999), The Body Artist (2001), and Cosmopolis (2003)) through the examination of what I conceive as DeLillo’s philosophy of language. It is my assertion that the crucial and articulating aspect of DeLillo’s philosophy of language is his investment in, and investigation of, irony. As I argue, DeLillo’s novels presume a certain conjugation of what I refer to as the work of irony (the seemingly impossible work of tendering both the allegorical imperative of naming and the ironic imperative of Otherness) with the work of art. In other words, DeLillo’s theory of language reveals his theory of art and, thus, his own theory of writing. This aesthetic philosophy becomes the critical tool with which DeLillo evaluates the various symbolic economies of a culture and its individuals caught
within late capitalism.
Chapter One: Tendering Allegory. The Ironist’s Melancholy Science
Chapter Two: The Body Artist
Chapter Three: Underworld
Chapter Four: Cosmopolis
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Tags: Tendering, the Impossible, The Work, Late Novels, Don DeLillo, Nicholas Wright
