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The Details Are Kept a Secret

The running dog has arrived. Don DeLillo’s career as a novelist has already been the subject of book-length criticism, notably Tom LeClair’s early appraisal of mastery and communications systems in In the Loop: Don DeLillo and the Systems Novel (1987), and Frank Lentricchia’s two edited collections, one on DeLillo as exemplary postmodernist and the other devoted to White Noise as representative text of the postindustrial consumer economy (1991). One hears the gears of critical industry turning with greater speed as Mark Osteen brings forth a Viking Critical Library edition of White Noise in 1998 and his own evaluation of DeLillo at the crossroads of postmodern culture in American Magic and Dread: Don DeLillo’s Dialogue with Culture (2000). The past year has seen the publication of two additional books, one, UnderWords: Perspectives on Don DeLillo’s Underworld, which provides a casebook of arguments for DeLillo’s lengthiest and most complexly structured novel as a “masterwork,” and the other, David Cowart’s Don DeLillo: The Physics of Language, recently revised in paperback to include a chapter on the latest published novel, Cosmopolis (2003), which provides extended readings of each of DeLillo’s now thirteen novels. Although the Don DeLillo Society does not boast the membership— or the recognition by the Modern Language Association—enjoyed by the Toni Morrison Society, the obvious trend in the critical reception of DeLillo’s fiction suggests that his oeuvre has now been granted full membership in the canon of postmodern American literature. Thus we find in UnderWords that a good deal of the discussion relates DeLillo’s