the dividing line - with me, with Don DeLillo - is late 90s Underworld. for some readers it's his (cue Disowning the Past) evolutionary "crown." me? i feel like that alien in Stardust Memories : "You want to do mankind a real service? Tell funnier jokes."
in interview, the Author refers to his 70s stuff as "goofy," but - really - i love it absolutely (just coming off a re.read of 1982's The Names). why bury your strengths?
.. and have just got-around to DeLillo's first, 1971's Americana. it is, eh, somehow not quite what i expected, but precisely what i *want* / sort of a funnier, less somber Mad Men. and his career trajectory makes sense: the narrative rudder turned more predictably "writerly" the further he got from his roots. Advertising, i mean. another factor, i guess, was two of his favorite characters - Terrorism and the Trade Towers - got together, at last, IRL. like the time Laura Palmer's Killer was discovered, it kinda destroyed the dance/ruined the flirting. MAO II (1991) was his last great one and innit we find a reclusive author meditating on the fate of the novel, suggesting that its effects will be replaced by the specter of exploding jets and crumbling buildings (i could direct you to the page, but book's at home, okay?).
coming soon: the Caucasian wedding band fakepage i've been sitting on and .. D-ve M-nroe Memorial highlights, hey !