White Noise (Contemporary American Fiction) [Paperback]

Don DeLillo (Author)

Book Description

Release date: January 7, 1986 | Series: Contemporary American Fiction

Jack Gladney teaches Hitler studies at a liberal arts college in Middle America where his colleagues include New york expatriates who want to immerse themselves in "American magic and dread." Jack and his fourth wife, Babette, bound by their love, fear of death, and four ultramodern offspring, navigate the usual rocky passages of family life to the background babble of brand-name consumerism.

Then a lethal black chemical cloud floats over their lives, an "airborne toxic event" unleashed by an industrial accident. The menacing cloud is a more urgent and visible version of the "white noise" engulfing the Gladney family--radio transmissions, sirens, microwaves, ultrasonic appliances, and TV murmerings--pulsing with life, yet heralding the danger of death.

Editorial Reviews

Amazon.com Review

Better than any book I can think of, White Noise captures the particular strangeness of life in a time where humankind has finally learned enough to kill itself. Naturally, it's a terribly funny book, and the prose is as beautiful as a sunset through a particulate-filled sky. Nice-guy narrator Jack Gladney teaches Hitler Studies at a small college. His wife may be taking a drug that removes fear, and one day a nearby chemical plant accidentally releases a cloud of gas that may be poisonous. Writing before Bhopal and Prozac entered the popular lexicon, DeLillo produced a work so closely tuned into its time that it tells the future.

From Publishers Weekly

Chairman of the department of Hitler studies at a Midwestern college, Jack Gladney is accidently exposed to a cloud of noxious chemicals, part of a world of the future that is doomed because of misused technology, artifical products and foods, and overpopulation. PW appreciated DeLillo's "bleak, ironic" vision, calling it "not so much a tragic view of history as a macabre one." January
Copyright 1985 Reed Business Information, Inc.

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Product Details

• Paperback: 326 pages
• Publisher: Penguin Books (January 7, 1986)
• Language: English
• ISBN-10: 0140077022
• ISBN-13: 978-0140077025
• Product Dimensions: 7.7 x 5.1 x 0.6 inches
• Shipping Weight: 8 ounces (View shipping rates and policies)
• Average Customer Review: 3.7 out of 5 stars  See all reviews (343 customer reviews)
• Amazon Best Sellers Rank: #55,087 in Books (See Top 100 in Books)

More About the Author

Don DeLillo is the author of fourteen novels, including Falling Man, Libra and White Noise, and three plays. He has won the National Book Award, the PEN/Faulkner Award for Fiction and the Jerusalem Prize. In 2006, Underworld was named one of the three best novels of the last twenty-five years by The New York Times Book Review, and in 2000 it won the William Dean Howells Medal of the American Academy of Arts and Letters for the most distinguished work of fiction of the past five years.

Most Helpful Customer Reviews

132 of 151 people found the following review helpful

5.0 out of 5 stars Best novel of the eighties? November 26, 1999

By "lexo-2"

Format:Paperback

White Noise was the first DeLillo I ever tried to read, a few years ago, and I was disappointed; I thought it was thin and heartless and clever-clever. Then I got older, visited America for the first time and read it again, and suddenly it seemed true, oh so true. The book is full of dark pleasures: the family's hilariously misinformed conversations about everything under the sun; the now-classic episode of The Most Photographed Barn in America (it's not especially beautiful or old, it's just been photographed over and over again); the description of a cloud of poisonous gas as an Airborne Toxic Event; the narrator's manically argumentative son Heinrich; his daughter's mysterious utterance in her sleep of the magical words "Toyota Celica". And much, much more. The crisp beauty of DeLillo's writing can seem cold on first reading, but this is a function of the eerie ambiguity of the book's tone; it's neither satirical nor celebratory, it's just looking hard at these lives and the world around them. White Noise is, for my money, DeLillo's funniest book and his most death-haunted; that he balances the ever-present fear of death with a (for him) new compassion for his characters is maybe the most amazing thing about it. It gets better every time it's read, which is the mark of a classic.

102 of 117 people found the following review helpful

3.0 out of 5 stars Occasionally brilliant, ultimately unsatisfying December 4, 1999

By A Customer

Format:Paperback

I'm not sure what to think of Don DeLillo. White Noise, like Mao II, like Underworld, like End Zone, is a book bursting with ideas and observations about people, the world and modern life. And some of these observations will make you see things in a new way, or at least crystallize your thoughts so perfectly that you nod your head and say, "Yes, that's exactly what I think. Now why didn't I say it like that?" Well, because you're not Don DeLillo. So give the man credit, because that's something few people can do. At the same time White Noise shows up one of DeLillo's bigger flaws: he doesn't really create characters you care about, even a little bit. Indeed, in White Noise I'm sure he didn't want to. They're not real characters at all, only a group of signifiers and commenators who all speak with the same voice and even use the same expressions, whether they are ex-sportswriters, housewives, sulking teens, or nine-year-old girls. By page 300 this gets tiresome. Intellectual insights are more memorable when they are hung on interesting and engaging characters. So while I enjoyed White Noise and am impressed with the mind behind it, I found it ultimately unsatisfying.

57 of 66 people found the following review helpful

5.0 out of 5 stars Comedic Campus Chronicle Clicks November 23, 2002

By Jessica Hope Whiteside

Format:Paperback

Technology is changing the inner experience of human beings. In White Noise, Don DeLillo shows us how this is done. Waves and radiation. Television serves as kind of new collective unconscious, creating a new inner frame of reference. Jack Gladney says at one point, "His skin was a color that I want to call flesh-toned." Stephie murmurs, "Toyota Celica," in her sleep. The TV is now a member of the family. We are moving toward a post-modern mentality.

Jack Gladney is, at best, an unlikely hero, I think. He is professor of "Hitler Studies" at a great American college; an academic who is comically humanized off of the pedestal of academia to the reader. He teaches the incarnation of death and national propaganda, and then comes home to a mundane and motley family crew of ditzy third wife, step-children, and biological children deeply rooted in the national propaganda of America. The extreme superficiality of his life is astounding. Everything is meant to *seem* significant...Hitler studies, the robes and sunglasses, the most photographed barn in America. Like so much of what we see and hear nowadays...what it's about is *sounding* like it's about something important. Everything is sense impression. Never mind what a word really means...if it *sounds* solid and strong, then that's reason enough to use it. In this way we escape from nature. We create lives that "protect" us from the things that are "out there" somewhere. "I'm not just a college professor," says Jack. "I'm the head of a department. I don't see myself fleeing an airborne toxic event. That's for people who live in mobile homes out in the scrubby parts of the country, where the fish hatcheries are."

As a metafictional Heidegerrian test, White Noise is a cross between life and narrative, death and narrative closure. Delillo�s narrative closure is that death may go a little way toward explaining why some are dissatisfied with his endings.
As DeLillo puts it, "All plots tend to move deathward. This is the nature of plots. Political plots, terrorist plots, lovers' plots, narrative plots, plots that are part of children's games. We edge nearer death every time we plot." If one accepts this, or accepts that DeLillo believes this, then it's hard to imagine how his endings (death) could be "satisfying" or why they (it) should be.

In light of this, can the narrative interruptions that pepper the text ("Krylon, Rust-Oleum, Red Devil") be seen as attempts to stave off the death that the narrative compels us toward, that the end of the book will bring? And what to make of the fact that most of these narrative interruptions are drawn from TV and advertising?

I wonder about the role of children, particularly Wilder, in White Noise. Murray suggests a couple of times that the way to deal with the onslaught of TV is to view TV as a child views it. Children's consciousness, he seems to believe, has evolved to a state where they can absorb this onslaught without being troubled by it. If this is true, though, why does Wilder (remember his crying jag) seem to be the most sensitive individual in the book? And why do the other children seem less like children than like small adults?

Even our language is adulterated and attenuated to protect us from confronting horror directly. In the Gladney household each family member corrects another with a further error. An exaggerated chronicle of the ludicrousness of modern America.