In Episode Fifteen, DDSWTNP take on The Names, a Greece-based story of a strange “abecedarian” murder cult, a novel regarded by DeLillo as his turn toward more “serious” writing and placed at or near the top of many a reader’s list of favorites. We discuss The Names as an examination of the “Depravities” and guilt of being an American in the complex late-1970s world of corporations, risk analysis, bank loans, and intelligence covers that narrator James Axton navigates, and we ask why The Names puts this geopolitical tumult (including the 1979 Iranian Revolution) in the context of ancient languages, ritual sacrifice, and a dissolving marriage and family life for James. Language-obsessed Owen Brademas (the archeologist and “epigraphist” who is drawn relentlessly to the fascinating cult) and filmmaker Frank Volterra (perhaps a sly satire of a certain American auteur?) figure in this story of religion, aesthetics, and the enduring appeal of violence, but we turn at the end of this episode to the nine-year-old author Tap, Axton’s son, whose misspelled, highly spirited tale of the spirit to which his tongue might “yeeld” lets DeLillo showcase all the ways to use the alphabet to salutary and generative ends. #getwet #themindslittleinfinite

We also announce the winner of our Amazons raffle and say thanks to all who have supported and continue to support us at buymeacoffee.com/delillopodcast.

Texts mentioned and discussed in this episode:

Burn, Stephen J. “‘A Paradigm for the Life of Consciousness’: The Pale King.” David Foster Wallace and “The Long Thing”: New Essays on the Novels, ed. Marshall Boswell. New York: Bloomsbury, 2014. 149-168.

“Don DeLillo: The Art of Fiction CXXXV,” Interview with Adam Begley, The Paris Review 128 (1993): 274-306.

“A Talk with Don DeLillo,” Interview with Robert Harris, in Thomas DePietro, ed., Conversations with Don DeLillo, University of Mississippi Press, 2005, 16-19.

The Godfather (1972) and Apocalypse Now (1979), dir. Francis Ford Coppola. (We have the dates on both films slightly wrong in the episode.)

Hearts of Darkness: A Filmmaker’s Apocalypse (1991), dir. George Hickenlooper and Fax Bahr

Viet Thanh Nguyen, The Sympathizer. Grove Press, 2015.

In Episode Fourteen, DDSWTNP turn our attention for the first time to DeLillo’s drama – and to a largely unknown work by DeLillo as playwright, a 1966 radio play and disturbing take on U.S. race relations titled Mother. We cover the circumstances of the play’s original broadcasts, its re-emergence in an internet archive recording more than 50 years later, and the strange way in which this story’s armchair progressives and Billie Holiday fans, Ralph and Sally, end up making a fetishizing travesty of civil rights and racial integration in the play’s brief 27 minutes. Topics include the importance of radio to Mother’s themes of media occlusion, moral numbness, and erasure; what DeLillo means by Ralph’s “white malady” of transparency and how it reworks images from another Ralph’s Invisible Man; and what this play has to do with contemporaneous issues like interracial marriage in Loving v. Virginia. We talk extensively as well about how Mother presages parts of the early novels, from jazz love in Americana to Taft in End Zone and Azarian in Great Jones Street. Before (and after) listening to our analysis, take in this troubling 27-minute play at https://archive.org/details/pra-BB3830.01

Our raffle for a hardcover Amazons has been extended to August 1 – donate and enter to win at https://buymeacoffee.com/delillopodcast

Texts mentioned and discussed in this episode:

James Baldwin, The Fire Next Time. Dial Press, 1963.

Samuel Beckett, Endgame. 1957.

Don DeLillo, The Mystery at the Middle of Ordinary Life. 2000.

https://muse.jhu.edu/article/30660/pdf

Ralph Ellison, Invisible Man. Random House, 1952.

“The writer is driven by his conviction that some truths aren’t arrived at so easily, that life is still full of mystery, that it might be better for you, Dear Reader, if you went back to the Living section of your newspaper because this is the dying section and you don’t really want to be here.” (Thomas LeClair, “An Interview with Don DeLillo,” Contemporary Literature 23.1 (1982): 19-31)

Eugene Ionesco, Rhinoceros. 1959.

Mark Osteen. “Chronology.” In Don DeLillo, Three Novels of the 1980s. Library of America, 2022.

Jean-Paul Sartre, No Exit. 1944.

In Episode Thirteen, DDSWTNP follow the puck into the corners with Cleo Birdwell, first female NHL player and ostensible author of the farcical, sex-fueled, “intimate” memoir Amazons, the 1980 satire of a “pseudo-profound” America that DeLillo co-wrote with Sue Buck. Amazons is a sports novel with perhaps more interest in “strip Monopoly” than hockey, more investment by Cleo in her Badger Beagles youth softball team than the New York Rangers. We discuss how this odd book came to be, how it was marketed, how DeLillo never fully owned up to it, and its nevertheless surprising place in his career’s development, a comedic lark and palate cleanser in which he makes significant moves toward the vision of White Noise. These include a disease called Jumping Frenchman, simulated death in the American home, and the character Murray Jay Siskind, seen here writing about athletes and a deeply corrupt snowmobile industry before becoming the Elvis scholar readers of the later novel know. In an episode with insights for those who have read this rare book and those who haven’t, we show that Amazons, least-discussed of DeLillo’s works, really should not be that!

Support our work and enter the raffle to win a hardcover Amazons: buymeacoffee.com/delillopodcast

Discussed in this episode:

Gerald Howard, “The Puck Stopped Here” (2008)

https://www.bookforum.com/print/1404/revisiting-cleo-birdwell-and-her-national-hockey-league-memoir-1406

David Marchese, “We All Live in Don DeLillo’s World. He’s Confused By It Too” (2020)

https://www.nytimes.com/interactive/2020/10/12/magazine/don-delillo-interview.html

An excerpt:

You know who else shows up in two of your books? Murray Jay Siskind. Both times described as having an “Amish” beard.

Murray Jay! Remind me, what book is he in?

“White Noise.”

And where else?

“Amazons.”

Oh god. How do you remember that? I don’t remember that.

I think I just got a scoop. I don’t know if you’ve ever publicly acknowledged that you wrote “Amazons.”

I probably did, somewhere or other. [Laughs.] Maybe to an interviewer from Thailand.

Susan Sontag, “The Pornographic Imagination” (1967), in Styles of Radical Will (1969).

Idries Shah: https://en.wikipedia.org/wiki/Idries_Shah

Jumping Frenchmen of Maine: https://en.wikipedia.org/wiki/Jumping_Frenchmen_of_Maine