![]() ![]() ![]() Zero K initially seems like a break from the abstruse and impressionistic recent work. After maximalist, wholehearted novels such as Libra, White Noise and Underworld, DeLillo’s austere, mindful, laconic late novellas feel, like those of Philip Roth, as if they’re trying to deconstruct the machinery of fiction, to back away from the world. Endings are left untied, characters nameless and one-dimensional, plots thin and haphazard. D on DeLillo’s late period work, which we can date from 2001’s The Body Artist, has been marked by novels that are slim, stark, conceptual, and that seem designed to provide as few of the traditional satisfactions of the form as possible. ![]()
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