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Don DeLillo Quotes
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Donald Richard DeLillo is an American novelist, short story writer, playwright, screenwriter and essayist. His works have covered subjects as diverse as television, nuclear war, sports, the complexities of language, performance art, the Cold War, mathematics, the advent of the digital age, politics, economics, and global terrorism.

Initially he was a well-regarded cult writer; however, the publication in 1985 of White Noise brought him widespread recognition, and won him the National Book Award for fiction. It was followed in 1988 by Libra, a bestseller. DeLillo has twice been a Pulitzer Prize for Fiction finalist , won the PEN/Faulkner Award for Mao II in 1992 , was granted the PEN/Saul Bellow Award for Achievement in American Fiction in 2010, and won the Library of Congress Prize for American Fiction in 2013.DeLillo has described his fiction as being concerned with "living in dangerous times", and in a 2005 interview declared, "Writers must oppose systems. It's important to write against power, corporations, the state, and the whole system of consumption and of debilitating entertainments [...] I think writers, by nature, must oppose things, oppose whatever power tries to impose on us." Wikipedia  

✵ 20. November 1936  •  Other names دان دلیلو
Don DeLillo photo
Don DeLillo: 101 quotes4 likes

Don DeLillo Quotes

“Too much has been forgotten in the name of memory.”

Don DeLillo book Americana

Source: Americana

“Eye contact was a delicate matter. A quarter second of a shared glance was a violation of agreements that made the city operational.”

Don DeLillo book Cosmopolis

Source: Cosmopolis

“We need time to lose interest in things.”

Don DeLillo Point Omega

Source: Point Omega

“It is all falling indelibly into the past.”

Don DeLillo Underworld

Source: Underworld

“Everything that goes on in your whole life is a result of molecules rushing around somewhere in your brain.”

Don DeLillo

Source: Don DeLillo's White Noise

“To become a crowd is to keep out death.”

Don DeLillo book White Noise

Source: White Noise (1984), Ch. 15

“In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.”

Don DeLillo book The Names

Source: The Names (1982), Ch. 5

“I am not particularly distressed by the state of fiction or the role of the writer. The more marginal, perhaps ultimately the more trenchant and observant and finally necessary he'll become.”

Don DeLillo

'The American Strangeness: An Interview with Don DeLillo' by Gerald Howard, The Hungry Mind Review, #47 , 1997

“Popular culture is inescapable in the U. S. Why not use it?”

Don DeLillo

'"Writing as a Deeper Form of Concentration": An Interview with Don DeLillo' by Maria Moss, Sources, Spring, 1999

“The supermarket shelves have been rearranged. It happened one day without warning. There is agitation and panic in the aisles, dismay in the faces of older shoppers. […]They scrutinize the small print on packages, wary of a second level of betrayal. The men scan for stamped dates, the women for ingredients. Many have trouble making out the words. Smeared print, ghost images. In the altered shelves, the ambient roar, in the plain and heartless fact of their decline, they try to work their way through confusion. But in the end it doesn’t matter what they see or think they see. The terminals are equipped with holographic scanners, which decode the binary secret of every item, infallibly. This is the language of waves and radiation, or how the dead speak to the living. And this is where we wait together, regardless of our age, our carts stocked with brightly colored goods. A slowly moving line, satisfying, giving us time to glance at the tabloids in the racks. Everything we need that is not food or love is here in the tabloid racks. The tales of the supernatural and the extraterrestrial. The miracle vitamins, the cures for cancer, the remedies for obesity. The cults of the famous and the dead.”

Don DeLillo book White Noise

White Noise (1984)

“He'd once told me that the art of getting ahead in New York was based on learning how to express dissatisfaction in an interesting way. The air was full of rage and complaint. People had no tolerance for your particular hardship unless you knew how to entertain them with it.”

Don DeLillo book White Noise

White Noise (1984)

“I'm a novelist, period. An American novelist.”

Don DeLillo

'An Interview with Don DeLillo' by Maria Nadotti, Salmagundi #100, Fall, 1993

“I want to immerse myself in American magic and dread.”

Don DeLillo book White Noise

Source: White Noise (1984), Ch. 5

“I think fiction comes from everything you've ever done, and said, and dreamed, and imagined. It comes from everything you've read and haven't read…I think my work comes out of the culture of the world around me. I think that's where my language comes from.”

Don DeLillo

'Exile on Main Street: Don DeLillo's Undisclosed Underworld' by David Remnick, The New Yorker, September 15, 1997

“The nonbelievers need the believers. They are desperate to have someone believe." "As belief shrinks from the world, people find it more necessary than ever that someone believe… Those who have abandoned belief must still believe in us. They are sure that they are right not to believe but they know belief must not fade completely. Hell is when no one believes.”

Don DeLillo book White Noise

White Noise (1984)

“The family is the cradle of the world’s misinformation. There must be something in family life that generates factual error. Over-closeness, the noise and heat of being. Perhaps even something deeper like the need to survive. Murray says we are fragile creatures surrounded by a world of hostile facts. Facts threaten our happiness and security. The deeper we delve into things, the looser our structure may seem to become. The family process works towards sealing off the world. Small errors grow heads, fictions proliferate. I tell Murray that ignorance and confusion can’t possibly be the driving forces behind family solidarity. What an idea, what a subversion. He asks me why the strongest family units exist in the least developed societies. Not to know is a weapon of survival, he says. Magic and superstition become entrenched as the powerful orthodoxy of the clan. The family is strongest where objective reality is most likely to be misinterpreted. What a heartless theory, I say. But Murray insists it’s true.”

Don DeLillo book White Noise

White Noise (1984)

“The figure of the gunman in the window was inextricable from the victim and his history. This sustained Oswald in his cell. It gave him what he needed to live. The more time he spent in a cell, the stronger he would get. Everybody knew who he was now.”

Don DeLillo

In Dallas, pt. 2 (1988).

“Fear is unnatural. Lightning and thunder are unnatural. Pain, death, reality, these are all unnatural. We can't bear these things as they are. We know too much. So we resort to repression, compromise and disguise. This is how we survive the universe. This is the natural language of the species.”

Don DeLillo book White Noise

White Noise (1984)

“Remember literature, Charlie? It involved getting drunk and getting laid.”

Don DeLillo Mao II

Part 2, Ch. 9
Mao II (1991)

“I had centered myself, learning of the existence of an interior motion, a shift in the levels from isolation to solitude to wordlessness to immobility. When Opel occupied that center I became the thing that swirled.”

Don DeLillo book Great Jones Street

Source: Great Jones Street (1974), Ch. 11

“I heard a noise, faint, monotonous, white.”

Don DeLillo book White Noise

Source: White Noise (1984), Ch. 39

“When I read obituaries I always note the age of the deceased. Automatically I relate this figure to my own age. Four years to go, I think. Nine more years. Two years and I'm dead. The power of numbers is never more evident than when we use them to speculate on the time of our dying.”

Don DeLillo book White Noise

White Noise (1984)

“Terror makes the new future possible. All men one man, Men live in history as never before. He is saying we make an change history minute by minute. History is not the book or the human memory. We do history in the morning and change it after lunch.”

Don DeLillo Mao II

In Beiruit
Mao II (1991)

“Who knows what I want to do? Who knows what anyone wants to do? How can you be sure about something like that? Isn't it all a question of brain chemistry, signals going back and forth, electrical energy in the cortex? How do you know whether something is really what you want to do or just some kind of nerve impulse in the brain? Some minor little activity takes place somewhere in this unimportant place in one of the brain hemispheres and suddenly I want to go to Montana or I don't want to go to Montana. How do I know I really want to go and it isn't just some neurons firing or something? Maybe it's just an accidental flash in the medulla and suddenly there I am in Montana and I find out I really didn't want to go there in the first place. I can't control what happens in my brain, so how can I be sure what I want to do ten seconds from now, much less Montana next summer? It's all this activity in the brain and you don't know what's you as a person and what's some neuron that just happens to fire or just happens to misfire.”

Don DeLillo book White Noise

White Noise (1984)

“When a writer doesn't show his face, he becomes a local symptom of God's famous reluctance to appear.”

Don DeLillo Mao II

Part 1, Ch. 3
Mao II (1991)

“We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others. We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism."”

Don DeLillo book White Noise

Another silence ensued. "They are taking pictures of taking pictures," he said.”
White Noise (1984)

“Who will die first?”

Don DeLillo book White Noise

Source: White Noise (1984), Ch. 4

“Only a catastrophe gets our attention. We want them, we depend on them. As long as they happen somewhere else. This is where California comes in. Mud slides, brush fires, coastal erosion, mass killings, et cetera. We can relax and enjoy these disasters because in our hearts we feel that California deserves whatever it gets. Californians invented the concept of life-style. This alone warrants their doom.”

Don DeLillo book White Noise

White Noise (1984)

“Evil is movement towards void.”

Don DeLillo book Great Jones Street

Source: Great Jones Street (1974), Ch. 15