White Noise

White Noise

by Don DeLillo


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Product Details

ISBN-13: 9780140077025
Publisher: Penguin Publishing Group
Publication date: 01/07/1986
Series: Contemporary American Fiction Series
Edition description: Reissue
Pages: 336
Sales rank: 60,768
Product dimensions: 5.10(w) x 7.80(h) x 0.50(d)
Age Range: 18 Years

About the Author

Don DeLillo has written sixteen novels, including White Noise, which won the National Book Award. It was followed by Libra, his bestselling novel about the assassination of President Kennedy; Mao II, which won the Pen/Faulkner Award for Fiction; and the bestselling Underworld, which in 2000 won the Howells Medal of the American Academy of Arts and Letters. In 1999, DeLillo was awarded the Jerusalem Prize, given to a writer whose work expresses the theme of freedom of the individual in society. In 2010 DeLillo became the third author to receive the PEN/Saul Bellow Award for Achievement in American Fiction. He was awarded the Library of Congress Prize for American Fiction in 2013, and the National Book Foundation's Medal for Distinguished Contribution to American Letters in 2015.


Westchester County, New York

Date of Birth:

November 20, 1936

Place of Birth:

New York City


Fordham University, 1958

Read an Excerpt

Waves and Radiation


THE STATION WAGONS arrived at noon, a long shining line that coursed through the west campus. In single file they eased around the orange I-beam sculpture and moved toward the dormitories. The roofs of the station wagons were loaded down with carefully secured suitcases full of light and heavy clothing; with boxes of blankets, boots and shoes, stationery and books, sheets, pillows, quilts; with rolled-up rugs and sleeping bags; with bicycles, skis, rucksacks, English and Western saddles, inflated rafts. As cars slowed to a crawl and stopped, students sprang out and raced to the rear doors to begin removing the objects inside; the stereo sets, radios, personal computers; small refrigerators and table ranges; the cartons of phonograph records and cassettes; the hairdryers and styling irons; the tennis rackets, soccer balls, hockey and lacrosse sticks, bows and arrows; the controlled substances, the birth control pills and devices; the junk food still in shopping bags—onion-and-garlic chips, nacho thins, peanut creme patties, Waffelos and Kabooms, fruit chews and toffee popcorn; the Dum-Dum pops, the Mystic mints.

I’ve witnessed this spectacle every September for twenty-one years. It is a brilliant event, invariably. The students greet each other with comic cries and gestures of sodden collapse. Their summer has been bloated with criminal pleasures, as always. The parents stand sun-dazed near their automobiles, seeing images of themselves in every direction. The conscientious suntans. The well-made faces and wry looks. They feel a sense of renewal, of communal recognition. The women crisp and alert, in diet trim, knowing people’s names. Their husbands content to measure out the time, distant but ungrudging, accomplished in parenthood, something about them suggesting massive insurance coverage. This assembly of station wagons, as much as anything they might do in the course of the year, more than formal liturgies or laws, tells the parents they are a collection of the like-minded and the spiritually akin, a people, a nation.

I left my office and walked down the hill and into town. There are houses in town with turrets and two-story porches where people sit in the shade of ancient maples. There are Greek revival and Gothic churches. There is an insane asylum with an elongated portico, ornamented dormers and a steeply pitched roof topped by a pineapple finial. Babette and I and our children by previous marriages live at the end of a quiet street in what was once a wooded area with deep ravines. There is an expressway beyond the backyard now, well below us, and at night as we settle into our brass bed the sparse traffic washes past, a remote and steady murmur around our sleep, as of dead souls babbling at the edge of a dream.

I am chairman of the department of Hitler studies at the College-on-the-Hill. I invented Hitler studies in North America in March of 1968. It was a cold bright day with intermittent winds out of the east. When I suggested to the chancellor that we might build a whole department around Hitler’s life and work, he was quick to see the possibilities. It was an immediate and electrifying success. The chancellor went on to serve as adviser to Nixon, Ford and Carter before his death on a ski lift in Austria.

At Fourth and Elm, cars turn left for the supermarket. A policewoman crouched inside a boxlike vehicle patrols the area looking for cars parked illegally, for meter violations, lapsed inspection stickers. On telephone poles all over town there are homemade signs concerning lost dogs and cats, sometimes in the handwriting of a child.


BABETTE IS TALL and fairly ample; there is a girth and heft to her. Her hair is a fanatical blond mop, a particular tawny hue that used to be called dirty blond. If she were a petite woman, the hair would be too cute, too mischievous and contrived. Size gives her tousled aspect a certain seriousness. Ample women do not plan such things. They lack the guile for conspiracies of the body.

“You should have been there,” I said to her.


“It’s the day of the station wagons.”

“Did I miss it again? You’re supposed to remind me.”

“They stretched all the way down past the music library and onto the interstate. Blue, green, burgundy, brown. They gleamed in the sun like a desert caravan.”

“You know I need reminding, Jack.”

Babette, disheveled, has the careless dignity of someone too preoccupied with serious matters to know or care what she looks like. Not that she is a gift-bearer of great things as the world generally reckons them. She gathers and tends the children, teaches a course in an adult education program, belongs to a group of volunteers who read to the blind. Once a week she reads to an elderly man named Treadwell who lives on the edge of town. He is known as Old Man Treadwell, as if he were a landmark, a rock formation or brooding swamp. She reads to him from the National Enquirer, the National Examiner, the National Express, the Globe, the World, the Star. The old fellow demands his weekly dose of cult mysteries. Why deny him? The point is that Babette, whatever she is doing, makes me feel sweetly rewarded, bound up with a full-souled woman, a lover of daylight and dense life, the miscellaneous swarming air of families. I watch her all the time doing things in measured sequence, skillfully, with seeming ease, unlike my former wives, who had a tendency to feel estranged from the objective world—a self-absorbed and high-strung bunch, with ties to the intelligence community.

“It’s not the station wagons I wanted to see. What are the people like? Do the women wear plaid skirts, cable-knit sweaters? Are the men in hacking jackets? What’s a hacking jacket?”

“They’ve grown comfortable with their money,” I said. “They genuinely believe they’re entitled to it. This conviction gives them a kind of rude health. They glow a little.”

“I have trouble imagining death at that income level,” she said.

“Maybe there is no death as we know it. Just documents changing hands.”

“Not that we don’t have a station wagon ourselves.”

“It’s small, it’s metallic gray, it has one whole rusted door.”

“Where is Wilder?” she said, routinely panic-stricken, calling out to the child, one of hers, sitting motionless on his tricycle in the backyard.

Babette and I do our talking in the kitchen. The kitchen and the bedroom are the major chambers around here, the power haunts, the sources. She and I are alike in this, that we regard the rest of the house as storage space for furniture, toys, all the unused objects of earlier marriages and different sets of children, the gifts of lost in-laws, the hand-me-downs and rummages. Things, boxes. Why do these possessions carry such sorrowful weight? There is a darkness attached to them, a foreboding. They make me wary not of personal failure and defeat but of something more general, something large in scope and content.

She came in with Wilder and seated him on the kitchen counter. Denise and Steffie came downstairs and we talked about the school supplies they would need. Soon it was time for lunch. We entered a period of chaos and noise. We milled about, bickered a little, dropped utensils. Finally we were all satisfied with what we’d been able to snatch from the cupboards and refrigerator or swipe from each other and we began quietly plastering mustard or mayonnaise on our brightly colored food. The mood was one of deadly serious anticipation, a reward hard-won. The table was crowded and Babette and Denise elbowed each other twice, although neither spoke. Wilder was still seated on the counter surrounded by open cartons, crumpled tin-foil, shiny bags of potato chips, bowls of pasty substances covered with plastic wrap, flip-top rings and twist ties, individually wrapped slices of orange cheese. Heinrich came in, studied the scene carefully, my only son, then walked out the back door and disappeared.

“This isn’t the lunch I’d planned for myself,” Babette said. “I was seriously thinking yogurt and wheat germ.”

“Where have we heard that before?” Denise said.

“Probably right here,” Steffie said.

“She keeps buying that stuff.”

“But she never eats it,” Steffie said.

“Because she thinks if she keeps buying it, she’ll have to eat it just to get rid of it. It’s like she’s trying to trick herself.”

“It takes up half the kitchen.”

“But she throws it away before she eats it because it goes bad,” Denise said. “So then she starts the whole thing all over again.”

“Wherever you look,” Steffie said, “there it is.”

“She feels guilty if she doesn’t buy it, she feels guilty if she buys it and doesn’t eat it, she feels guilty when she sees it in the fridge, she feels guilty when she throws it away.”

“It’s like she smokes but she doesn’t,” Steffie said.

Denise was eleven, a hard-nosed kid. She led a more or less daily protest against those of her mother’s habits that struck her as wasteful or dangerous. I defended Babette. I told her I was the one who needed to show discipline in matters of diet. I reminded her how much I liked the way she looked. I suggested there was an honesty inherent in bulkiness if it is just the right amount. People trust a certain amount of bulk in others.

But she was not happy with her hips and thighs, walked at a rapid clip, ran up the stadium steps at the neoclassical high school. She said I made virtues of her flaws because it was my nature to shelter loved ones from the truth. Something lurked inside the truth, she said.

The smoke alarm went off in the hallway upstairs, either to let us know the battery had just died or because the house was on fire. We finished our lunch in silence.


DEPARTMENT HEADS wear academic robes at the College-on-the-Hill. Not grand sweeping full-length affairs but sleeveless tunics puckered at the shoulders. I like the idea. I like clearing my arm from the folds of the garment to look at my watch. The simple act of checking the time is transformed by this flourish. Decorative gestures add romance to a life. Idling students may see time itself as a complex embellishment, a romance of human consciousness, as they witness the chairman walking across campus, crook’d arm emerging from his medieval robe, the digital watch blinking in late summer dusk. The robe is black, of course, and goes with almost anything.

There is no Hitler building as such. We are quartered in Centenary Hall, a dark brick structure we share with the popular culture department, known officially as American environments. A curious group. The teaching staff is composed almost solely of New York emigres, smart, thuggish, movie-mad, trivia-crazed. They are here to decipher the natural language of the culture, to make a formal method of the shiny pleasures they’d known in their Europe-shadowed childhoods—an Aristotelianism of bubble gum wrappers and detergent jingles. The department head is Alfonse (Fast Food) Stompanato, a broad-chested glowering man whose collection of prewar soda pop bottles is on permanent display in an alcove. All his teachers are male, wear rumpled clothes, need haircuts, cough into their armpits. Together they look like teamster officials assembled to identify the body of a mutilated colleague. The impression is one of pervasive bitterness, suspicion and intrigue.

An exception to some of the above is Murray Jay Siskind, an ex-sportswriter who asked me to have lunch with him in the dining room, where the institutional odor of vaguely defined food aroused in me an obscure and gloomy memory. Murray was new to the Hill, a stoop-shouldered man with little round glasses and an Amish beard. He was a visiting lecturer on living icons and seemed embarrassed by what he’d gleaned so far from his colleagues in popular culture.

“I understand the music, I understand the movies, I even see how comic books can tell us things. But there are full professors in this place who read nothing but cereal boxes.”

“It’s the only avant-garde we’ve got.”

“Not that I’m complaining. I like it here. I’m totally enamored of this place. A small-town setting. I want to be free of cities and sexual entanglements. Heat. This is what cities mean to me. You get off the train and walk out of the station and you are hit with the full blast. The heat of air, traffic and people. The heat of food and sex. The heat of tall buildings. The heat that floats out of the subways and the tunnels. It’s always fifteen degrees hotter in the cities. Heat rises from the sidewalks and falls from the poisoned sky. The buses breathe heat. Heat emanates from crowds of shoppers and office workers. The entire infrastructure is based on heat, desperately uses up heat, breeds more heat. The eventual heat death of the universe that scientists love to talk about is already well underway and you can feel it happening all around you in any large or medium-sized city. Heat and wetness.”

“Where are you living, Murray?”

“In a rooming house. I’m totally captivated and intrigued. It’s a gorgeous old crumbling house near the insane asylum. Seven or eight boarders, more or less permanent except for me. A woman who harbors a terrible secret. A man with a haunted look. A man who never comes out of his room. A woman who stands by the letter box for hours, waiting for something that never seems to arrive. A man with no past. A woman with a past. There is a smell about the place of unhappy lives in the movies that I really respond to.”

“Which one are you?” I said.

“I’m the Jew. What else would I be?”

There was something touching about the fact that Murray was dressed almost totally in corduroy. I had the feeling that since the age of eleven in his crowded plot of concrete he’d associated this sturdy fabric with higher learning in some impossibly distant and tree-shaded place.

“I can’t help being happy in a town called Blacksmith,” he said. “I’m here to avoid situations. Cities are full of situations, sexually cunning people. There are parts of my body I no longer encourage women to handle freely. I was in a situation with a woman in Detroit. She needed my semen in a divorce suit. The irony is that I love women. I fall apart at the sight of long legs, striding, briskly, as a breeze carries up from the river, on a weekday, in the play of morning light. The second irony is that it’s not the bodies of women that I ultimately crave but their minds. The mind of a woman. The delicate chambering and massive unidirectional flow, like a physics experiment. What fun it is to talk to an intelligent woman wearing stockings as she crosses her legs. That little staticky sound of rustling nylon can make me happy on several levels. The third and related irony is that it’s the most complex and neurotic and difficult women that I am invariably drawn to. I like simple men and complicated women.”

Murray’s hair was tight and heavy-looking. He had dense brows, wisps of hair curling up the sides of his neck. The small stiff beard, confined to his chin and unaccompanied by a mustache, seemed an optional component, to be stuck on or removed as circumstances warranted.

“What kind of lectures do you plan giving?”

“That’s exactly what I want to talk to you about,” he said. “You’ve established a wonderful thing here with Hitler. You created it, you nurtured it, you made it your own. Nobody on the faculty of any college or university in this part of the country can so much as utter the word Hitler without a nod in your direction, literally or metaphorically. This is the center, the unquestioned source. He is now your Hitler, Gladney’s Hitler. It must be deeply satisfying for you. The college is internationally known as a result of Hitler studies. It has an identity, a sense of achievement. You’ve evolved an entire system around this figure, a structure with countless substructures and interrelated fields of study, a history within history. I marvel at the effort. It was masterful, shrewd and stunningly preemptive. It’s what I want to do with Elvis.”

Several days later Murray asked me about a tourist attraction known as the most photographed barn in America. We drove twenty-two miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the signs started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were forty 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 at once 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. This literally colors our vision. A religious experience in a way, like all tourism.”

Another silence ensued.

“They are taking pictures of taking pictures,” he said.

He did not speak for a while. We listened to the incessant clicking of shutter release buttons, the rustling crank of levers that advanced the film.

“What was the barn like before it was photographed?” he said. “What did it look like, how was it different from other barns, how was it similar to other barns? We can’t answer these questions because we’ve read the signs, seen the people snapping the pictures. We can’t get outside the aura. We’re part of the aura. We’re here, we’re now.”

He seemed immensely pleased by this.


WHEN TIMES ARE BAD, people feel compelled to overeat. Blacksmith is full of obese adults and children, baggy-pantsed, short-legged, waddling. They struggle to emerge from compact cars; they don sweatsuits and run in families across the landscape; they walk down the street with food in their faces; they eat in stores, cars, parking lots, on bus lines and movie lines, under the stately trees.

Only the elderly seem exempt from the fever of eating. If they are sometimes absent from their own words and gestures, they are also slim and healthy-looking, the women carefully groomed, the men purposeful and well dressed, selecting shopping carts from the line outside the supermarket.

I crossed the high school lawn and walked to the rear of the building and toward the small open stadium. Babette was running up the stadium steps. I sat across the field in the first row of stone seats. The sky was full of streaking clouds. When she reached the top of the stadium she stopped and paused, putting her hands to the high parapet and leaning into it to rest diagonally. Then she turned and walked back down, breasts chugging. The wind rippled her oversized suit. She walked with her hands on her hips, fingers spread. Her face was tilted up, catching the cool air, and she didn’t see me. When she reached the bottom step she turned to face the seats and did some kind of neck stretching exercise. Then she started running up the steps.

Three times she ascended the steps, walked slowly down. There was no one around. She worked hard, hair floating, legs and shoulders working. Every time she reached the top she leaned into the wall, head down, upper body throbbing. After the last descent I met her at the edge of the playing field and embraced her, putting my hands inside the sweatband of her gray cotton pants. A small plane appeared over the trees. Babette was moist and warm, emitting a creaturely hum.

She runs, she shovels snow, she caulks the tub and sink. She plays word games with Wilder and reads erotic classics aloud in bed at night. What do I do? I twirl the garbage bags and twist-tie them, swim laps in the college pool. When I go walking, joggers come up soundlessly behind me, appearing at my side, making me jump in idiotic fright. Babette talks to dogs and cats. I see colored spots out of the corner of my right eye. She plans ski trips that we never take, her face bright with excitement. I walk up the hill to school, noting the whitewashed stones that line the driveways of newer homes.

Who will die first?

This question comes up from time to time, like where are the car keys. It ends a sentence, prolongs a glance between us. I wonder if the thought itself is part of the nature of physical love, a reverse Darwinism that awards sadness and fear to the survivor. Or is it some inert element in the air we breathe, a rare thing like neon, with a melting point, an atomic weight? I held her in my arms on the cinder track. Kids came running our way, thirty girls in bright shorts, an improbable bobbing mass. The eager breathing, the overlapping rhythms of their footfalls. Sometimes I think our love is inexperienced. The question of dying becomes a wise reminder. It cures us of our innocence of the future. Simple things are doomed, or is that a superstition? We watched the girls come round again. They were strung out now, with faces and particular gaits, almost weightless in their craving, able to land lightly.

The Airport Marriott, the Downtown Travelodge, the Sheraton Inn and Conference Center.

On our way home I said, “Bee wants to visit at Christmas. We can put her in with Steffie.”

“Do they know each other?”

“They met at Disney World. It’ll be all right.”

“When were you in Los Angeles?”

“You mean Anaheim.”

“When were you in Anaheim?”

“You mean Orlando. It’s almost three years now.”

“Where was I?” she said.

My daughter Bee, from my marriage to Tweedy Browner, was just starting seventh grade in a Washington suburb and was having trouble readjusting to life in the States after two years in South Korea. She took taxis to school, made phone calls to friends in Seoul and Tokyo. Abroad she’d wanted to eat ketchup sandwiches with Trix sticks. Now she cooked fierce sizzling meals of scallion bushes and baby shrimp, monopolizing Tweedy’s restaurant-quality range.

That night, a Friday, we ordered Chinese food and watched television together, the six of us. Babette had made it a rule. She seemed to think that if kids watched television one night a week with parents or stepparents, the effect would be to de-glamorize the medium in their eyes, make it wholesome domestic sport. Its narcotic undertow and eerie diseased brain-sucking power would be gradually reduced. I felt vaguely slighted by this reasoning. The evening in fact was a subtle form of punishment for us all. Heinrich sat silent over his egg rolls. Steffie became upset every time something shameful or humiliating seemed about to happen to someone on the screen. She had a vast capacity for being embarrassed on other people’s behalf. Often she would leave the room until Denise signaled to her that the scene was over. Denise used these occasions to counsel the younger girl on toughness, the need to be mean in the world, thick-skinned.

It was my own formal custom on Fridays, after an evening in front of the TV set, to read deeply in Hitler well into the night.

On one such night I got into bed next to Babette and told her how the chancellor had advised me, back in 1968, to do something about my name and appearance if I wanted to be taken seriously as a Hitler innovator. Jack Gladney would not do, he said, and asked me what other names I might have at my disposal. We finally agreed that I should invent an extra initial and call myself J. A. K. Gladney, a tag I wore like a borrowed suit.

The chancellor warned against what he called my tendency to make a feeble presentation of self. He strongly suggested I gain weight. He wanted me to “grow out” into Hitler. He himself was tall, paunchy, ruddy, jowly, big-footed and dull. A formidable combination. I had the advantages of substantial height, big hands, big feet, but badly needed bulk, or so he believed—an air of unhealthy excess, of padding and exaggeration, hulking massiveness. If I could become more ugly, he seemed to be suggesting, it would help my career enormously.

So Hitler gave me something to grow into and develop toward, tentative as I have sometimes been in the effort. The glasses with thick black heavy frames and dark lenses were my own idea, an alternative to the bushy beard that my wife of the period didn’t want me to grow. Babette said she liked the series J. A. K. and didn’t think it was attention-getting in a cheap sense. To her it intimated dignity, significance and prestige.

I am the false character that follows the name around.


LET’S ENJOY THESE AIMLESS DAYS while we can, I told myself, fearing some kind of deft acceleration.

At breakfast, Babette read all our horoscopes aloud, using her storytelling voice. I tried not to listen when she got to mine, although I think I wanted to listen, I think I sought some clues.

After dinner, on my way upstairs, I heard the TV say: “Let’s sit half lotus and think about our spines.”

That night, seconds after going to sleep, I seemed to fall through myself, a shallow heart-stopping plunge. Jarred awake, I stared into the dark, realizing I’d experienced the more or less normal muscular contraction known as the myoclonic jerk. Is this what it’s like, abrupt, peremptory? Shouldn’t death, I thought, be a swan dive, graceful, white-winged and smooth, leaving the surface undisturbed?

Blue jeans tumbled in the dryer.

We ran into Murray Jay Siskind at the supermarket. His basket held generic food and drink, nonbrand items in plain white packages with simple labeling. There was a white can labeled CANNED PEACHES. There was a white package of bacon without a plastic window for viewing a representative slice. A jar of roasted nuts had a white wrapper bearing the words IRREGULAR PEANUTS. Murray kept nodding to Babette as I introduced them.

“This is the new austerity,” he said. “Flavorless packaging. It appeals to me. I feel I’m not only saving money but contributing to some kind of spiritual consensus. It’s like World War III. Everything is white. They’ll take our bright colors away and use them in the war effort.”

He was staring into Babette’s eyes, picking up items from our cart and smelling them.

“I’ve bought these peanuts before. They’re round, cubical, pockmarked, seamed. Broken peanuts. A lot of dust at the bottom of the jar. But they taste good. Most of all I like the packages themselves. You were right, Jack. This is the last avant-garde. Bold new forms. The power to shock.”

A woman fell into a rack of paperback books at the front of the store. A heavyset man emerged from the raised cubicle in the far corner and moved warily toward her, head tilted to get a clearer sightline. A checkout girl said, “Leon, parsley,” and he answered as he approached the fallen woman, “Seventy-nine.” His breast pocket was crammed with felt-tip pens.

“So then you cook at the rooming house,” Babette said.

“My room is zoned for a hot plate. I’m happy there. I read the TV listings, I read the ads in Ufologist Today. I want to immerse myself in American magic and dread. My seminar is going well. The students are bright and responsive. They ask questions and I answer them. They jot down notes as I speak. It’s quite a surprise in my life.”

He picked up our bottle of extra-strength pain reliever and sniffed along the rim of the child-proof cap. He smelled our honeydew melons, our bottles of club soda and ginger ale. Babette went down the frozen food aisle, an area my doctor had advised me to stay out of.

“Your wife’s hair is a living wonder,” Murray said, looking closely into my face as if to communicate a deepening respect for me based on this new information.

“Yes, it is,” I said.

“She has important hair.”

“I think I know what you mean.”

“I hope you appreciate that woman.”


“Because a woman like that doesn’t just happen.”

“I know it.”

“She must be good with children. More than that, I’ll bet she’s great to have around in a family tragedy. She’d be the type to take control, show strength and affirmation.”

“Actually she falls apart. She fell apart when her mother died.”

“Who wouldn’t?”

“She fell apart when Steffie called from camp with a broken bone in her hand. We had to drive all night. I found myself on a lumber company road. Babette weeping.”

“Her daughter, far away, among strangers, in pain. Who wouldn’t?”

“Not her daughter. My daughter.”

“Not even her own daughter.”


“Extraordinary. I have to love it.”

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White Noise (SparkNotes Literature Guide Series) 3.7 out of 5 based on 0 ratings. 94 reviews.
AnaMardoll More than 1 year ago
White Noise / 978-1-440-67447-1 White Noise, arguably Delillo's best work, carefully explores a world where consumerism has, almost literally, consumed us all, to the point where we become empty shells of people. The extended family in the book have been reduced by consumerism to two-dimensional beings, dependent upon television and other cultural stimuli to tell them how to think and behave. Occasionally, they act out against this emptiness (or is it that a wire has been crossed in the brain?) with idiosyncrasies such as a pronounced preference for the smell of burnt toast, or a tendency to find frumpy jogging outfits attractive. On the weekends, they shop at the local supermarket, under the soporific thrall of the overhead neon lights. When their consumer culture literally threatens to kill them, via a toxic waste spill on the town railroad, they are ill-prepared to respond and look to their customary authorities (television and radio) on how to react to the emergency. When fire trucks storm through town, broadcasting an evacuation notice, the mother wonders absently whether the evacuation is a suggestion or a command. And in the aftermath of the toxic cloud, even when many have died and many more have had their lives shortened by exposure to the poison, the town feels no outrage, only numbness that what is normally confined to the television news stories nevertheless happened in their idyllic town. Actors themselves, they practice emergency evacuations, determined to perform better "next time". Despite the shallowness of their lives, they fear death. Some self-medicate with dangerous experimental drugs in an attempt to control that fear. Others take up death-defying hobbies in the hope that this will deaden their fear. They discuss which food preservatives will kill them, whether the phones lines will cause cancer, which yoga poses will prolong their lives, and how to squeeze every drop of life out of their lives. When a character points out how much energy is wasted in daily life (carrying things that don't need to be carried, making extra trips, etc.), another asks what would one do with all the saved energy. The answer: Live longer. In this way, Delillo paints a stunning and frightening portrait of a community that fears death yet has no love for life. ~ Ana Mardoll
Anonymous More than 1 year ago
White Noise is a fantastic work of literature. Chances are you will have a different view of society after reading this. In the novel Don DeLillo examines a society where people are emotionless, completely void of any human feelings. People have been effected by consumerism to extremes. Characters spend copious amounts of time discussing what will kill them, fearing death, trying their hardest to avoid it, yet have no appreciation for life. When a “Airborne Toxic Event” kills many of the citizens of the town and decreases the lives of countless others, the townspeople feel no anger whatsoever. They continue their average lives in a almost emotionally sedated state. This book does a fantastic job illustrating how on a grand scale how minor our everyday tasks are. And how we pay more attention to a minor event in our life like going to the grocery store, than a life changing one in another persons life, even someone as close as a child or close friend. Although there are many people who dislike this book, I would recommend it to anyone. It shows a interesting perspective of everyday life. Although we are not in a society centered around consumerism as shown in this novel, some of the characteristics could be applied to us, and might even change your views about certain everyday things. -Erik B
Anonymous More than 1 year ago
I'll admit, it took me about 30 pages before I realized what I was reading and how good this book really is. It is indeed slow, and at times, you will find yourself re-reading paragraphs. But it is worth it. Don't read this book on a plane or on the train to work. Give it a peaceful setting and attack it with an open mind.
Guest More than 1 year ago
white noise surprised me greatly, not only as a perfect example of stylized postmodernism, but a great tale full of the darkest humor. delillo is not only a beautiful wordsmith but an intellegent writer who makes fear of death, mortality, and faithfulness seem digestible while making the entire experience a smart and humorous experience.
Guest More than 1 year ago
This book is phenomenal. For those who enjoy a realistic trip through a novel which portrays the real world as something more absurd or fantastical, this book is for you. DeLillo writes in a heavily ironic style which criticizes multiple outlets of state or government authority, state sponsored events or violence, and more generally the situation of modern Americans or all people for that matter. The majority of this book is written in a beautiful fashion which cannot be passed over if you enjoy wholesome literature. To those who consider this book boring or tedious, one might only wonder how much of this work or their own world they have ignored. As a runner-up in the New York Times' recent writers, critics, and editors survey of the best work of American fiction in the last 25 years, this book deserves far more credit than I can possibly give to it here.
Anonymous More than 1 year ago
White Noise captures the multi-tasked, ADD-infused overload of our time. Corporate content, centrally scrutinized Kardasian junk feed. Like our society, no clear resolution. Why read it? Because The Matrix says so! A great read.
UgandaJim More than 1 year ago
I enjoyed Underworld immensely, then came back to White Noise. I was afraid it would suffer in comparison, but this book really holds its own. This is post modern fiction at its best. Things might be going on now, might have never happened, or might simply be untrue static. For me, I enjoyed the overall book, but bogged down here and there. Avoid if you don't like post modern books or if you prefer a linear plot with the writer filling in all the dots. If you like uncertainty and the idea that a book might have a number of meanings, go for this one and Underworld, too. Good book for discussion if your entire group can deal with uncertainty and the writer not telling you how to interpret what is happening (or has happened, or might happen). Could be it's all just static anyway!
Anonymous More than 1 year ago
I recognize that the bizarre and arbitrary plot twists are supposed to reflect the nature of modern society, but they made for an unsatisfying book. Certainly DeLillo's reflections on consumerism are interesting--a sort of verbal reflection of Warhol's Pop Art. But they get repeated over...and over...and over. The character of Murray is too obviously a foil for Jack, and their philisophical discussions feel contrived. And frankly, the book feels dated. I found myself quickly bored by the earnest critiques of deceptive advertising and corporate greed. Maybe it's a generational gap. Because we're already inured to the idea that huge corporations could take over the world.
DanikaMorningstar More than 1 year ago
I am an avid reader. This is one of the few books that I finally just set aside, rather than finish. I was close to the end. Just didn't care about the story. Interesting characters but the plot was uninteresting and the writing style was not to my taste. I enjoyed the abundant irony, cleverly developed traits/quirks of the characters, and the social issues. Some very funny parts, almost Catch 22.
Guest More than 1 year ago
Surprisingly good I have to say that this book is quite good . I am a student from Belgium and I am in the 6th grade of Secondary school . I have to read it for my final exam at the end of the year . This book is good, it gives me look at 'the American Way' . ( By the way : Belgium is not the capital of Brussels, it's the opposite) G reetz, M
Guest More than 1 year ago
I love DeLillo and I loved this book. It paints a very realistic picture. The characters remind me of people I know. Calling it boring, well... I'll just say no.
Guest More than 1 year ago
I have to say that DeLillo's book not only captured my interests, but fascinated me at the same time. I think everyone should pick this book up and read it. Granted it can be depressing at times, but it captures the best of what this real world is coming to. Trust me...pick this up.
Guest More than 1 year ago
Don DeLillo¿s White Noise is the story of Jack Gladney, a Professor at the local University, and his quest to save himself and his family. He lives with his wife and their children. The book is a complex, multi-staged novel with several intertwined plots. Small details quickly elevate into major points of the plot. Likewise, minor occurrences quickly spiral out of control. Jack is constantly moving around while trying to juggle his school responsibilities and keeping his family in equilibrium. The son is meeting friends who will try death defying stunts and a wife who is taking special medication. One aspect of this novel that I truly admire is Don DeLillo¿s ability to put the reader in positions where they begin to think about instances that aren¿t even in the book. This is rare in many novels because this is one novel that challenges conventional thinking. It tells more than just a story. The novel forces the reader to ponder questions that we take as common knowledge. In one instance, Heinrich, Jack¿s son, challenges his father with a proposal to define rain. Even as Jack decides on a reasonable answer, Heinrich has a veritable battalion of retorts to trump Jack¿s definition. This made me think about other situations we accept as the norm without fully understanding them. I also enjoyed the vivid descriptions DeLillo goes into when he describes situations. During periods of chaos, he explains not just the characters feelings, but their surrounding atmosphere as well. This really puts one into the novel. I felt like I knew Jack, and I knew his wife. There were times when I wanted to shout advice to the characters (a la horror films), but only to remember, ¿It is only a book.¿ It is really that well written. Don DeLillo is an amazing writer. I believe this novel to be one of the novels I have ever read. The book has elements of Science Fiction, a satirical novel, it can even get a bit risqué in places. I thoroughly enjoyed this book and look forward to reading other books he has written.
Abbsalah on LibraryThing More than 1 year ago
Possibly because I share the same paralyzing fear as the main character, possibly because I am a true postmodernist at heart, possibly because I aspire one day to be in academia at a place like College-on-the-Hill, this book spoke to me on such a deep level. I turned every page thinking, "YES this is EXACTLY how I feel too." This book inspired a complete spectrum of emotion--laughter, tears, fear, joy, etc. Delillo's prose and character development are simply stunning. I would recommend this to everybody who struggles with the knowledge of their mortality or who loves post-modernism. This is a phenomenal work.
andyjb on LibraryThing More than 1 year ago
An interesting piece of work with moments of humour as one man struggles with his mortality.
Matt_Sessions on LibraryThing More than 1 year ago
WHITE NOISE is about death. It is about family, modernism, America, love, sex, and philosophy -- but mostly it is about death. DeLillo handles the issue expertly, constructing a series of characters prone to ruminations and monologues. The most successful handling of the subject comes in the form of various conversations between Jack (the main - and perspective - character) and Murray, two academics easily engaged in philosophical speculation. The tendency towards erudition can become a bit wearying, especially when virtually every character possesses it in some form or another, from well-educated doctors to idiotic teenagers.The plot is well-crafted, with various threads of story simultaneously snapping into focus at novel's end. It is paced well and delivered poignantly through Jack's observant gaze. His pondering carries the book through some of the sludgier parts, enough so that nothing ever seems to drag.Ultimately, WHITE NOISE is a book that shouldn't be ignored. It is beautiful, contemplative, and advertent to the minutiae of the modern human experience.
David_Cain on LibraryThing More than 1 year ago
White Noise is a fantastic novel, in many regards. The poetics and form are shrewdly brilliant. I am not at peace with the density, the over-the-top sensational nature of the plot, the emotional weakness of the characters, the sacrifice of humanity to make a point. Too much cardboard, not enough flesh.Which, I can only assume, is part of the point.All in all, I see White Noise as a retelling of Lolita, with death taking the place of a girl. In that, the novel is magnificent.Underworld, however, is signficantly better.
ggarfield on LibraryThing More than 1 year ago
Data Deluge and dull hum crowd out Meaning.At one level this seemed like an interminable plumbing of the notion of self absorption. Then again, perhaps self absorption is a form of ¿white noise¿ and as such tedious by its very nature. That being the point. Self absorption as a form of our culture¿s unique blindness to larger more expansive ideas and opportunities. What with Jack and Babette Gladney¿s angst about death, but on another it is quite unsettling and philosophical. Amazing in its prescient quality when one realizes it was written before the advent of the Internet and all it¿s ¿noise¿ dulling forces. Somehow the constant presence of ¿fear of death¿ juxtaposed with the daily hum of the ¿white noise¿ of life. All the meaningless and unintelligible babble makes it hard to discern real meaning from the ¿noise¿, the din of the day. But ¿noise¿ takes center stage in our daily lives and the book seems to suggest stripping it away to find the real thing. I found the notion that fear of death is derived from wanting to live and not feeling like we¿ve finished our work/our contribution, hopeful. The clarity of the statement ¿If we could learn not be afraid, we could live forever¿ to somehow be the diamond in the rough of this book¿s meaning. Life without fear (without ¿White Noise¿) might give us a glimpse of immortality or at least the larger and infinite spiritual realities.Or not. You be the judge. It¿s definitely worth the read.
DannyM5 on LibraryThing More than 1 year ago
Fantastic. But you already know that.
ncnsstnt on LibraryThing More than 1 year ago
I can see where Chuck Palniuk gets some of his schtick now. The ending was a bit weak but there were some truly stunning passages throughout.
Meggo on LibraryThing More than 1 year ago
Confession time - I don't get Don DeLillo. I had previously read "Falling Man", and didn't enjoy it much, so it was with trepidation that I picked up "White Noise". Ultimately, its inclusion on several lists of "Books You Absolutely Must Read Right This Second" tipped the balance. This was not a bad book, per se, just one that I didn't particularly enjoy. The story of some academics in a small college town and various things that happen to them, including an evacuation. The problem was I just didn't feel empathy for the characters. I blame me, rather than DeLillo - my tastes appear to be much too lowbrow for his style of writing, alas.
ireed110 on LibraryThing More than 1 year ago
I am surprised to read other reviews and learn that this book is humorous and biting. Mostly, I found it slow and a little boring.The story centers around a mix-n-match family born of multiple marriages. Part one is kind of Richard Russo - here's a family, here's the town, and this is what it's like here. In Part 2, we're treated to an industrial accident that forces evacuation. Part 3 elaborates the aftermath as perceived by the main character (did we ever learn his name? I don't even remember). There are other issues and events, of course, and they add value to the reading, but all in all I found the substance spread thin.
sfhaa on LibraryThing More than 1 year ago
Funny modernism ballardian philosophy hitler.First Delillo read after a break from fiction...this was brilliant. Currently seeking more!
miriamparker on LibraryThing More than 1 year ago
One of those amazing reads that just brings it all together and so prescient...it's like he wrote it yesterday.
dreamingtereza on LibraryThing More than 1 year ago
Improbably funny. White Noise is beautifully and richly layered with metaphor and meaning. And the dialogue in the end between Jack and the German nun is priceless!At several points in the novel, I got an eerily vague feeling that I had read a certain sentence somewhere before. I'm not sure whether DeLillo somehow does this on purpose (or if it means that I am just as crazy as so many of his characters), but the whole idea plays beautifully into his ongoing discussion of deja vu and how it is inextricably linked to our innate preoccupation with death.