{"title":"“每当科技太多的时候”:对唐·德里罗的《沉默》(Scribner, 2020)的评论","authors":"M. Tardi","doi":"10.18778/2083-2931.11.28","DOIUrl":null,"url":null,"abstract":"In a year punctuated by the global catastrophe of the COVID-19 pandemic and various other social upheavals, Don DeLillo published his seventeenth novel, The Silence, which––in many respects—can be read as a kind of coda. Novelist Rachel Kushner observes on the jacket blurb that “The Silence seems to absorb DeLillo’s entire body of work and sand it into stone or crystal,” and the book certainly distills many of the prevailing concerns in DeLillo’s previous books: technology and the inherent dangers in its global interconnectedness (Players, Cosmopolis); the compulsive allure of the screen (Running Dog, Libra, Point Omega, Zero K); consciousnessshaping communal experiences (White Noise, Mao II, Falling Man); language as a near-mystical, impenetrable socio-historical meditation (Ratner’s Star, The Names), and sports as a defining cultural moment (End Zone, Underworld). To varying degrees, all of these issues are at play within the narrative of The Silence. The book could also be seen as the third movement of a postUnderworld trio of novellas starting with The Body Artist, followed by Point Omega, and now The Silence, with each book serving as a reflection or extended meditation on the corporeality of grief (The Body Artist), when the concept of a “haiku war” collides with familial loss (Point Omega), and when people are enveloped in the immanence of a global event just beginning to take shape (The Silence). In the case of the latter, the result is a novella of fractures, what occurs off-screen or out of the frame, as the narrative momentum is propelled more by the elisions of the unsaid or undescribed, the “unknown known,” to borrow from former US Secretary of Defense Donald Rumsfeld’s (in)famous memo, than by clearly delineated plot points. The action of the novel, minimal though it might be, centers on a seemingly global event, which appears to disable all technology––and Text Matters, Number 11, 2021 https://doi.org/10.18778/2083-2931.11.28","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":"61 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“Whenever there’s too much technology”: A Review of Don DeLillo’s The Silence (Scribner, 2020)\",\"authors\":\"M. Tardi\",\"doi\":\"10.18778/2083-2931.11.28\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In a year punctuated by the global catastrophe of the COVID-19 pandemic and various other social upheavals, Don DeLillo published his seventeenth novel, The Silence, which––in many respects—can be read as a kind of coda. Novelist Rachel Kushner observes on the jacket blurb that “The Silence seems to absorb DeLillo’s entire body of work and sand it into stone or crystal,” and the book certainly distills many of the prevailing concerns in DeLillo’s previous books: technology and the inherent dangers in its global interconnectedness (Players, Cosmopolis); the compulsive allure of the screen (Running Dog, Libra, Point Omega, Zero K); consciousnessshaping communal experiences (White Noise, Mao II, Falling Man); language as a near-mystical, impenetrable socio-historical meditation (Ratner’s Star, The Names), and sports as a defining cultural moment (End Zone, Underworld). To varying degrees, all of these issues are at play within the narrative of The Silence. The book could also be seen as the third movement of a postUnderworld trio of novellas starting with The Body Artist, followed by Point Omega, and now The Silence, with each book serving as a reflection or extended meditation on the corporeality of grief (The Body Artist), when the concept of a “haiku war” collides with familial loss (Point Omega), and when people are enveloped in the immanence of a global event just beginning to take shape (The Silence). In the case of the latter, the result is a novella of fractures, what occurs off-screen or out of the frame, as the narrative momentum is propelled more by the elisions of the unsaid or undescribed, the “unknown known,” to borrow from former US Secretary of Defense Donald Rumsfeld’s (in)famous memo, than by clearly delineated plot points. 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“Whenever there’s too much technology”: A Review of Don DeLillo’s The Silence (Scribner, 2020)
In a year punctuated by the global catastrophe of the COVID-19 pandemic and various other social upheavals, Don DeLillo published his seventeenth novel, The Silence, which––in many respects—can be read as a kind of coda. Novelist Rachel Kushner observes on the jacket blurb that “The Silence seems to absorb DeLillo’s entire body of work and sand it into stone or crystal,” and the book certainly distills many of the prevailing concerns in DeLillo’s previous books: technology and the inherent dangers in its global interconnectedness (Players, Cosmopolis); the compulsive allure of the screen (Running Dog, Libra, Point Omega, Zero K); consciousnessshaping communal experiences (White Noise, Mao II, Falling Man); language as a near-mystical, impenetrable socio-historical meditation (Ratner’s Star, The Names), and sports as a defining cultural moment (End Zone, Underworld). To varying degrees, all of these issues are at play within the narrative of The Silence. The book could also be seen as the third movement of a postUnderworld trio of novellas starting with The Body Artist, followed by Point Omega, and now The Silence, with each book serving as a reflection or extended meditation on the corporeality of grief (The Body Artist), when the concept of a “haiku war” collides with familial loss (Point Omega), and when people are enveloped in the immanence of a global event just beginning to take shape (The Silence). In the case of the latter, the result is a novella of fractures, what occurs off-screen or out of the frame, as the narrative momentum is propelled more by the elisions of the unsaid or undescribed, the “unknown known,” to borrow from former US Secretary of Defense Donald Rumsfeld’s (in)famous memo, than by clearly delineated plot points. The action of the novel, minimal though it might be, centers on a seemingly global event, which appears to disable all technology––and Text Matters, Number 11, 2021 https://doi.org/10.18778/2083-2931.11.28
期刊介绍:
Text Matters: A Journal of Literature, Theory and Culture, based at the University of Łódź, is an international and interdisciplinary journal, which seeks to engage in contemporary debates in the humanities by inviting contributions from literary and cultural studies intersecting with literary theory, gender studies, history, philosophy, and religion. The journal focuses on textual realities, but contributions related to art, music, film and media studies addressing the text are also invited. Submissions in English should relate to the key issues delineated in calls for articles which will be placed on the website in advance. The journal also features reviews of recently published books, and interviews with writers and scholars eminent in the areas addressed in Text Matters. Responses to the articles are more than welcome so as to make the journal a forum of lively academic debate. Though Text Matters derives its identity from a particular region, central Poland in its geographic position between western and eastern Europe, its intercontinental advisory board of associate editors and internationally renowned scholars makes it possible to connect diverse interpretative perspectives stemming from culturally specific locations. Text Matters: A Journal of Literature, Theory and Culture is prepared by academics from the Institute of English Studies with considerable assistance from the Institute of Polish Studies and German Philology at the University of Łódź. The journal is printed by Łódź University Press with financial support from the Head of the Institute of English Studies. It is distributed electronically by Sciendo. Its digital version published by Sciendo is the version of record. Contributions to Text Matters are peer reviewed (double-blind review).