Don DeLillo

Novelist

1936-11-20

Quotes by Don DeLillo

• Then they're always trying to sell you something. Everything is based on forcing people to buy. If you can't buy what they're selling, you're a zero in the system.

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• California deserves whatever it gets. Californians invented the concept of life-style. This alone warrants their doom.

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• Make no mistake. I take these children seriously. It is not possible to see too much in them, to overindulge your causal gift for the study of character. It is all there, in full force, charged waves of identity and being. There are no amateurs in the world of children

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• Once out of the mailroom, I began to learn more about fear. As soonas fear begins to ascend, anatomically, from the pit of the stomach to thethroat and brain, from fear of violence to the more nameless kind, youcome to believe you are part of a horrible experiment. I learned todistrust those superiors who encouraged independent thinking. When yougave it to them, they returned it in the form of terror, for they knewthat ideas, only that, could hasten their obsolescence. Management askedfor new ideas all the time; memos circulated down the echelons, requestingbold and challenging concepts. But I learned that new ideas could finishyou unless you wrapped them in a plastic bag. I learned that most of thesecretaries were more intelligent than most of the executives and that theexecutive secretaries were to be feared more than anyone. I learned whatclosed doors meant and that friendship was not negotiable currency and howimportant it was to lie even when there was no need to lie. Words andmeanings were at odds. Words did not say what was being said nor even itsreverse. I learned to speak a new language and soon mastered the specialelements of that tongue.

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• How children adapt to available surfaces, using curbstones, stoops and manhole covers. How they take the pockmarked world and turn a delicate inversion, making something brainy and rule-bound and smooth, and then spend the rest of their lives trying to repeat the process.

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• How language is webbed in the senses. Out of sand-blazed brilliance into quirky minds such as his, into touch, taste and fragrance. He thought he'd linger just a bit longer, let the bath take total hold, ease and alleviate, before he put on clothes and entered the complex boxes where people do their living.Nothing fits the body so well as water.

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• My son used to believe that he could look at a plane in flight and make it explode in midair by simply thinking it. He believed, at thirteen, that the border between himself and the world was thin and porous enough to allow him to affect the course of events. An aircraft in flight was a provocation too strong to ignore. He'd watch a plane gaining altitude after taking off from Sky Harbor and he'd sense an element of catastrophe tacit in the very fact of a flying object filled with people. He was sensitive to the most incidental stimulus and he thought he could feel the object itself yearning to burst. All he had to do was wish the fiery image into his mind and the plane would ignite and shatter. His sister used to tell him, Go ahead, blow it up, let me see you take that plane out of the sky with all two hundred people aboard, and it scared him to hear someone talk this way and it scared her too because she wasn't completely convinced he could not do it. It's the special skill of an adolescent to imagine the end of the world as an adjunct to his own discontent. But Jeff got older and lost interest and conviction. He lost the paradoxical gift for being separate and alone and yet intimately connected, mind-wired to distant things.

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• As always when he worked with this much concentration he began to feel a sense of introverting pressure. There was no way out once he was in, no genuine rest, no one to talk to who was capable of understanding the complexity (simplicity) of the problem or the approaches to a tentative solution. There came a time in every prolonged effort when he had a moment of near panic, or terror in a lonely place, the original semantic content of the word. The lonely place was his own mind. As a mathematician he was free from subjection to reality, free to impose his ideas and designs on his own test environment. The only valid standard for his work, its critical point (zero or infinity), was the beauty it possessed, the deft strength of his mathematical reasoning. THe work's ultimate value was simply what it revealed about the nature of his intellect. What was at stake, in effect, was his own principle of intelligence or individual consciousness; his identity, in short. This was the infalling trap, the source of art's private involvement with obsession and despair, neither more nor less than the artist's self-containment, a mental state that led to storms of overwork and extended stretches of depression, that brought on indifference to life and at times the need to regurgitate it, to seek the level of expelled matter. Of course, the sense at the end of a serious effort, if the end is reached successfully, is one of lyrical exhilaration. There is air to breathe and a place to stand. The work gradually reveals its attachment to the charged particles of other minds, men now historical, the rediscovered dead; to the main structure of mathematical thought; perhaps even to reality itself, the so-called sum of things. It is possible to stand in time's pinewood dust and admire one's own veronicas and pavanes.

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• Money was spiritual indemnity against some unspecifiable future loss. It existed in purest form in his mind, my money, a reinforcing source of meditation.

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• I'd never felt more human than I did when my mother lay in bed, dying. This was not the frailty of a man who is said to be only human, subject to a weakness or a vulnerability. This was a wave of sadness and loss that made me understand that I was a man expanded by grief.

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• A photograph is a universe of dots. The grain, the halide, the little silver things clumped in the emulsion. Once you get inside a dot, you gain access to hidden information, you slide into the smallest event. This is what technology does. It peels back the shadows and redeems the dazed and rumbling past. It makes reality come true.

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• I was too much of a Bronx kid to read Emerson or Hawthorne.

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• I'm completely aware of Matisse and what he said, that painters must begin by cutting out their tongues.

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• The painted aircraft took on sunlight and pulse. Sweeps of color, bands and spatters, airy washes, the force of saturated light— the whole thing oddly personal, a sense of one painter's hand moved by impulse and afterthought as much as by epic design. I hadn't expected to register such pleasure and sensation. The air was color-scrubbed, coppers and ochers burning off the metal skin of the aircraft to exchange with the framing desert.

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• It is the form that allows a writer the greatest opportunity to explore human experience...For that reason, reading a novel is potentially a significant act. Because there are so many varieties of human experience, so many kinds of interaction between humans, and so many ways of creating patterns in the novel that can't be created in a short story, a play, a poem or a movie. The novel, simply, offers more opportunities for a reader to understand the world better, including the world of artistic creation. That sounds pretty grand, but I think it's true.

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• All plots tend to move deathward. This is the nature of plots. Political plots, terrorist plots, lovers' plots, narrative plots, plots that are part of children's games. We edge nearer death every time we plot. It is like a contract that all must sign, the plotters as well as those who are the targets of the plot.

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• Too young for Korea, too old for Vietnam.

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• I used to think it was possible for an artist to alter the inner life of the culture. Now bomb-makers and gunmen have taken that territory.

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• Fear is intense self-awareness.

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• How strange it is. We have these deep terrible lingering fears about ourselves and the people we love. Yet we walk around, talk to people, eat and drink. We manage to function. The feelings are deep and real. Shouldn't they paralyze us? How is it we can survive them, at least for a little while? We drive a car, we teach a class. How is it no one sees how deeply afraid we were, last night, this morning? Is it something we all hide from each other, by mutual consent? Or do we share the same secret without knowing it? Wear the same disguise?

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