- Obama military strategy too weak for future security, panel reports
- Sen. Tom Coburn vows to slow down budget-busting bills ahead of recess
- Obama fantasizes about more executive power, signs new order on federal contractors
- Clintons call Klein, Halper, Kessler ‘a Hat Trick of despicable actors’: report
- Boehner accuses Obama of ‘legacy of lawlessness’
- Pro-marijuana group claims responsibility for Brooklyn Bridge flag swap
- Young adults shun Obamacare mostly due to cost: survey
- Stabbing attack on transgender girl, 15, was ‘bias motivated,’ police say
- LGBT adults still lean overwhelmingly toward Democratic Party
- Lawmakers rattled by Syria genocide horrors, call on Obama to act
Both parties recognize the Democrats' scam
Topic - Don Delillo
Intriguing but numbing and visually stunted, David Cronenberg's film adaptation of "Cosmopolis" captures the weary philosophical deadpan of Don DeLillo's 2003 novel of financial cataclysm.
Lifeless, stagey and lacking a palpable subversive pulse despite the ready opportunities offered by the material, "Cosmopolis" is a stillborn adaptation of Don DeLillo's novel that will initially attract some Robert Pattinson fans but will be widely met with audience indifference.
Don DeLillo's first book of short stories is a finalist for the PEN/Faulkner award for fiction.
Don DeLillo's first book of short stories is up for a literary honor.
''When my head is in the typewriter, the last thing on my mind is some imaginary reader," Don DeLillo told a Paris Review interviewer in 1992. "I don't have an audience; I have a set of standards."
Don DeLillo is among the world's most influential and celebrated writers, but only close observers of his jacket photos are likely to recognize his face - roundish and dark-eyed, with lowered eyebrows and a watchful, withholding expression, as if he were the bearer of classified information.
For nearly 40 years, Don DeLillo has trained a cool analytical eye on the structures we erect and the devices we create in hopes of exercising some control over whatever exists outside and around us. He's an unconventional cultural building inspector, pointing out unperceived cracks and leaks in seemingly impermeable surfaces, issuing warnings so cryptically framed that we're not always certain where, or in whom, trouble lurks.
Who knew — almost 30 years ago, when Thomas Pynchon's masterpiece "Gravity's Rainbow" assailed us with its alarmingly memorable first line "A screaming comes across the sky" — how that envisioning of chaos come again would resonate across the decades?
Since then, he says, he's been choosing parts solely by director.
"It seemed very different from the anti-war protests in the '60s," says Mr. DeLillo, who turns 75 this month and lives outside New York City.