Uzbekistan state university of world languages theory and practice of translation faculty

Analysis of Don Dellilo`s novels

The scant traditional narrative structure in Don DeLillo's (1936- ) novel seems to serve primarily as a vehicle for introspective twists, a fragile framework for weaving together the author's concerns about life and the world. Thematically, each novel is a profound reworking of the familiar precepts that have formed the core of its literary belief system. This core group of ideas includes the function (dysfunction) of language for being, the absurdity of death and the meaning of the apocalypse, the complexity and chaotic functioning of society. government and institutions in particular), the ontological purity of women and children, the concept of sacred space, and the interdependence of time, history, and myth. DeLillo's wonderful facility with language perfectly suited to satire and irony allows him to vary the breadth and depth of these subjects. All of these themed strains are available in Americana. The issue of language and meaning gets special attention in the conversation between the main character, David Bell, a disgruntled short-time network executive who takes on the task of making a documentary to make a self-discovery adventures across the country, and Carol Deming, a distracted but energetic young actress takes on the role in David's film: The Encounter was set up to be erotic but turned out to be no different. What a bizarre verbal date, an eccentric duel of exaggeration mixed with satire. Beneath the quick exchange of words between David and Carol is the level of conduct and intensity often associated with seduction. In this case, the words seem to stand for the great variety of emotional responses associated with sexual behavior. However, the reader knows that verbal intercourse is no substitute for sex and sympathizes with David about his lack of satisfaction; words are forged images that can be created to disguise the layered nature of reality. In the end, however, the word is destroyed by the meaning it tries to hide. ⁹
This verbal affair takes place in the middle of America, in a town called Fort Curtis, the designated location for the filming of David’s documentary. He has been commissioned to film the Navajo Indians but decides that the town will be the backdrop for a film about the central moment of his own childhood, the moment he learned that his mother, for him the bastion of health and security, would soon face disintegration and death. Each stop on his “sacred journey” out West holds a numinous attraction for him: the starting point, the chaotic craziness of the network office with its mad memo writer; the garage of Bobby Brand (a friend who uses his van for the trip); Fort Curtis; and ultimately Rooster, Texas, where David’s pilgrimage of selfexploration ends in a boozy orgy in the dust. In Fort Curtis, David hires local people to read absurd lines and then has traveling companion Sullivan, an enigmatic sculptor, play the part of his mother on the day he learned, in the pantry of his parents’ home, the tragic truth that women were not what he expected and wanted them to be: They cannot be held as an anodyne against the fear of death. In David’s hands, the camera has the power to create from the union of a special place and a particular moment an image that is again an illusion of reality. Then, when he tried to bring a created image to life (i.e. turn Sullivan into a real mother by letting her tell a bedtime story), he was instructed to about the disparity between the image and the world. DeLillo, repeatedly emphasizing the impossibility of realistically describing the world in time and space in words (story), mythologize his characters and free them from the confines of historicism .
One of DeLillo's iconic characters, Myna Corbett, appears in End Zone, the only novel that most author reviews consider an excellent play. Myna, a student at Logos College in West Texas, epitomizes DeLillo's female characters: she's tall, weighs 165 pounds, she refuses to lose weight because she doesn't want the "responsibility" of being pretty; she fills her mind with trivial matters (she reads sci-fi novels); and she has big breasts that Gary Harkness, the main character, hopes will find solace in the world.
Gary is a talented but eccentric soccer player from Logos University who, due to his odd behavior, has been kicked off teams at major academies like Penn State and Syracuse. He didn't change his ways at Logos, leaving the field in the final game with marijuana and very hungry. He has a passion for war and examines Reserve Officer Training Corps courses related to carnage strategy. When Colonel Staley asked him to become a cadet, Gary refused, saying he just wanted to fantasize about nuclear war. He enjoys playing nuclear annihilation with the colonel, but he is not prepared to be an air force officer: he will not drop real bombs.
When not engaging in his graphic war dreams, Gary plays soccer, an abstract painting of war, or goes on a picnic with Myna. If war is held, death can be felt, then Myna must be opposed to it, an image of life and protection against the fear of death. The tension between women (as words or images against death) and harsh reality is shown in the scene where Gary undresses Myna on a library shelf. He thought it was important to leave her completely naked among books containing millions of words. He must see her as the word (image of simple and harmless femininity) in the flesh. He wants to see that Myna, the embodiment of the illusion of security that words provide, seem to negate the truth behind the image, the fact that women are not immune to the fear of death and therefore cannot provide the security he is looking for. Because. He does not want to face the mystery and seduction of feminine beauty: he is sad when Myna loses weight. When she returned from vacation with a slim body, it was he who didn't want to be responsible for Myna's beauty. A woman's love can lead to death, and words can have deadly connotations. DeLillo explores more themes of language, death, women and time in Great Jones Street, the story of rock star Bucky, who, growing tired of his business, leaves his band in Houston and returned to a slum apartment in New York. There, his isolation is destroyed when Skippy, a hippie, leaves him with a box filled with a special dope that has not been tested but is considered extremely powerful, thus very interested in drug addicts. The rest of the novel focuses on many people who want to get drugs. One of the agents sent to buy drugs was Opel, who eventually died in Bucky's bed. She is only the image of a living woman lying in her bed; reflection, death, is its reality there. When she dies, Bucky can only admire her dead self; once people leave one extreme of being, they have to become another. Bucky tries to turn his apartment into a refuge from the relentless flow of time and the world. He spoke into a dead phone, extinguishing any possibility that speech could reach its destination and complete the communication. He refused to turn the clock, hoping that time would stop, this harsh reality hidden under the illusion of stagnation. Opel, though safe in his bed in the endless, wordless world (no phone) in Bucky's apartment, still dies. Bucky's signature song, "Pee-Pee-Maw-Maw," brings up another of DeLillo's favorite themes, which is that children, due to their young age, have no thoughts or fears about what is. dead and therefore safe from death. Bucky sings in the simple, soaring syllables of a child. The Mountain Tapes, traded for drugs by a boy named Hanes, provide the same relief as drugs in a box: they render language meaningless. Later, when Bucky is drugged against his will, he loses the ability to speak; he silence. Children who babble and have no words are equated with not being afraid of death and, therefore, of losing humanity. Bucky says, only humans are afraid of death.¹⁰
A child is the central character in Ratner's Star, a dense and lengthy novel about the shortcomings of modern science. Billy, a fourteen-year-old math genius who just won the first Nobel Prize in Mathematics, is called into a group of futurists to help decipher a signal believed to be communications from the Ratner's Star. The boy finally found the answer: the pulses of the message really came from the earth as it had long existed. The meaning of the mathematical "words", the exact time of day when Billy looks at the clock on the wall (and incidentally the exact time when the sun's unforeseen eclipses occur), is everyone's secret. Knowledge is what one has in a particular place right now. All the supposed power of the modern scientific community can be reduced to the sheer simplicity of the time of day in a child's bedroom on our planet in our day. When a spontaneous movement of the celestial body occurs, it is first communicated to the child's mind. The adult scientists Billy was forced to interact with due to their extremely rude personalities provided DeLillo with countless opportunities to include his cynical sarcasm. For example, Endor, the world's greatest mathematician, gave up trying to solve the legume mystery and went to live in a mud pit, living off of the worms and roots he dug up. from the ground. Fitzroy-Tapps, talkative scholar, from Crutchlyon-Podge, pronounced Croaking-on-Pidgett. Hoy Hing Toy, an obstetrician who ate a newborn's placenta; Grbk, who would be formally reprimanded for showing his nipples to young children; and Armand Verbene, S.J., practitioner of red ant metaphysics, as representatives of resident staff. Among these strange characters, there is one in particular that gives DeLillo an excellent opportunity to discuss the meaning of language. Young Billy, who won the Nobel Prize for devising the mathematical concept of zorg (the entity reduced to the maximum, meaning nothing), confronts the astronomical spirit of Lazarus Ratner. It must be said that Billy confronts Ratner's "mind", for that is in fact all that remains of the man. He was prevented from collapsing by continuous silicone injections, and his bodily functions were mechanically kept inside a protective bubble. Billy sat on the biological tank, talked to Ratner (who would only talk to the child) and translated what the great scientist was saying to those standing nearby. DeLillo uses this conversation between the old man and the boy to explore provocative notions about language, knowledge, and God. Ratner talks to the boy about Kabbalah: The hidden and unknowable name of God is a literal contraction of the divine. In other words, the contraction of the opposite or other divine makes the world possible. Being (God) is somewhere on the spectrum between light and darkness, something and nothing, between integers and zorg, in Billy's mathematical code. Divinity (pure being) reveals itself in the expanse of matter. As the universe expanded, man, as part of this expansion, was born. Thus, existence is like the birth and death of stars, Ratner said: It manifests with the expansion and death of the mass with the contraction of mass. So, as elements or sephiroth of primordial beings, humans are like little sparks from the star of Ratner. Human names, words that correspond to human existence, are only artificial and abstract images of ceaseless expansion and contraction. The real being consists of the flow and levels of the being behind the image. Billy puts this theory in simple, incomplete terms, Ratner complained, not fully conveying the reality of what is being communicated. Here's the old problem again: words, as images of reality, are in no way capable of conveying the entire meaningful dimension of the world. Those who listened to Billy as he performed Ratner were only able to glean a small portion of the content from Ratner's lyrics.