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

CONCLUSION

DeLillo's work exhibits elements of both modernism and postmodernism. (Although it's worth noting that DeLillo himself claims to not know if his work is postmodern: "It's not [postmodern]. I'm the last to ask. If I had to rate it, then it's not." it would be in the line of modernists, from James Joyce to William Faulkner and so on. This has always been my role model.") foreign films and jazz". Many books DeLillo's (especially White Noise) satirizes academia and explores postmodern themes of escalating consumerism, novel intellectualism, underground conspiracy, disintegration, and reunification. family entry and the promise of rebirth through violence.

In several of his novels, DeLillo explores the idea of ​​​​the increasing visibility and effectiveness of terrorists as actors in society and thus the alternative of what he sees is the traditional role of artists, and especially novelists, in facilitating social discourse (The Player, Mao II, The Fallen). Another perennial theme in DeLillo's books is the saturation of the mass media and their role in shaping simulacra, leading to the removal of an event from its context and thus making exhausting its meaning (see the highway shooter in Underworld, the long-awaited TV disaster in White Noise, the planes in Falling Man, the interviewee's story in Valparaiso) . Crowd psychology and individual surrender to group identity are themes DeLillo examines in several of his novels, especially in the openings of Underworld, Mao II, and Falling Man. In a 1993 interview with Maria Nadotti, DeLillo explained
My book (Mao II), in a way, asks who is talking to these people. Is it the writer who traditionally believes he can influence the imaginations of his contemporaries or is it totalitarian leaders, soldiers, terrorists, those in power? distorted and seemingly capable of imposing their vision of the world, to shrink the earth to a place of danger and fury. Things have changed a lot in recent years. You no longer board an airplane with the same spirit as ten years ago: things have changed and this change has crept into our consciousness with the same force as it crept into images of Beckett or Kafka.
Many young English-speaking authors such as Bret Easton Ellis, Jonathan Franzen and David Foster Wallace have considered DeLillo an influencer. Literary critic Harold Bloom has called him one of the four great American novelists of his time, along with Thomas Pynchon, Philip Roth and Cormac McCarthy, although he questions the classification of DeLillo as "postmodern novelist". When asked if he would accept the title, DeLillo replied: "I don't react. But I don't want to be labeled. I'm a novelist. An American novelist."
DeLillo's critics consider her novels too stylized and intellectually superficial. In James Wood's review of Zadie Smith's 2000 novel White Teeth, he dismissed the work of authors like DeLillo, Wallace, and Smith as "hysterical realism". Bruce Bawer famously condemned DeLillo's novels insisting they weren't actually novels at all but "tracts, designed to batter us, again and again, with a single idea: that life in America today is boring, benumbing, dehumanized...It's better, DeLillo seems to say in one novel after another, to be a marauding murderous maniac – and therefore a human – than to sit still for America as it is, with its air conditioners, assembly lines, television sets, supermarkets, synthetic fabrics, and credit cards."
George Will proclaimed the study of Lee Harvey Oswald in Libra as "sandbox existentialism" and "an act of literary vandalism and bad citizenship." DeLillo responded "I don't take it seriously, but being called a 'bad citizen' is a compliment to a novelist, at least to my mind. That's exactly what we ought to do. We ought to be bad citizens. We ought to, in the sense that we're writing against what power represents, and often what government represents, and what the corporation dictates, and what consumer consciousness has come to mean. In that sense, if we're bad citizens, we're doing our job."[68] In the same interview DeLillo rejected Will's claim that DeLillo blames America for Lee Harvey Oswald, countering that he instead blamed America for George Will. B. R. Myers devoted an entire chapter ("Astute Prose") of A Reader's Manifesto, his 2002 review of recent American literary fiction, to dissecting passages from DeLillo's book and arguing that they are mediocre ideas that are badly written.