DOCSLIB.ORG

'The Heart of the West'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
'The Heart of the West' The Heart of the West: 9/11, the Insider/Outsider Novel, and Worlding America Inauguraldissertation zur Erlangung des Akademischen Grades eines Dr. phil., vorgelegt dem Fachbereich 05 – Philosophie und Philologie der Johannes-Gutenberg Universität Mainz von Pascale Nathalie Cicolelli aus Speyer Kaiserlsautern 2015 1 Table of Contents List of Abbreviations ..................................................................................................... 2 Introduction ................................................................................................................... 3 i. The Argument .......................................................................................................3 ii. The Texts ............................................................................................................11 iii. The Method ........................................................................................................18 iv. The Novel ...........................................................................................................21 I. The Critical Discourse of 9/11 .......................................................................... 27 II. The Turn Inward, or the Exceptionalism of Suffering in Extremely Loud and Incredibly Close and Falling Man ............................................................................... 59 III. 9/11 and the Social Satire: A Disorder Peculiar to the Country ....................... 91 IV. Autofiction and the Boundaries between Art and Life: Beigbeder’s Windows on the World ................................................................................................................... 122 V. The Transcultural Novel and Pseudocosmopolitanism: The Reluctant Fundamentalist .......................................................................................................... 146 VI. The Emigration Novel and the Aftermath of 9/11: Home Boy ........................ 182 Conclusion ................................................................................................................. 210 Works Cited ............................................................................................................... 217 2 List of Abbreviations DPC = A Disorder Peculiar to the Country ELC = Extremely Loud and Incredibly Close FM = Falling Man HB = Home Boy OPL = Once in a Promised Land RF = The Reluctant Fundamentalist WWE = Windows on the World (English edition) WWF = Windows on the World (French edition) 3 Introduction i. The Argument The cruelness and unexpectedness of the September 11, 2001 attacks shook the whole world. Having been caught live on tape, the event was a visual one, and so, people all over the globe made claims to the attacks and the ensuing trauma. Critics and scholars agreed that the tragedy could not be put into words and denied authors of fiction the ability of writing about it in any meaningful way. At the same time, American authors felt the pressure to write nothing less than the “great 9/11 novel” (L. Miller). Expectations and, consequently, the pressure particularly on American novelists were high. In 2005, Rachel Donadio claimed that up to that instant, no writer of fiction had “perfectly captured our historical moment.” According to her, works published by the first wave of authors, that is to say authors who decided to make 9/11 the immediate subject of their novels shortly after the attacks, such as Don DeLillo, Jonathan Safran Foer and Jay McInerney, were not able to come to terms with the traumatic event adequately. Yet, Donadio acknowledges that the writing of fiction takes its time and that even masters in their field, such as Tolstoy, needed time to write meaningfully about actual historical events (in his case, the Napoleonic Wars).1 Although Donadio admits that art needs more time to respond to real- life events, she, like many other critics and scholars worldwide, apparently could not wait for “the” 9/11 novel to appear. The tragedy has given rise to important questions in regard to fiction and 9/11, two topics that seemed to be mutually exclusive to some. People voiced concerns about the ethic dimension of fictionalizing the attacks and as the corpus of novels grew, conflicting questions concerning the ethics and aesthetics of such an undertaking arose: What took so long? Has it really been long enough? Can fiction redress the wounds of that day? Are we ready to even try? Is it possible to write a novel about 9/11 that is 1 “To date, no work of fiction has perfectly captured our historical moment the way certain novels captured the Gilded Age, or the Weimar Republic, or the cold war. Then again, it’s still early. Nonfiction can keep up with the instant messenger culture; fiction takes its own sweet time. Even Tolstoy wrote “War and Peace” years after the Napoleonic Wars. Today, the most compelling creative energies seem directed at nonfiction. That is, until the next great novelist comes along to prove the naysayers wrong. Time, as Elizabeth Bishop once wrote, is nothing if not amenable” (Donadio). 4 actually good? Do we now experience the representation of crisis or rather a crisis of representation? As after past great tragedies such as the Holocaust, the attacks of 9/11 once more made critics and readers alike wonder about the possible obsoleteness of art in general and the novel in particular. Many complained that it was much too soon to fictionalize the attacks when finally, in 2005, the first novels on the subject were published in the U.S. In contrast to the destitute silence following the Holocaust,2 people reacted the opposite way after 9/11. After the trauma, language was “the first healer. Expression counter[ed] obsession. Telling the tale [was] the first step in getting on with life, integrating what happened into a meaningful narrative” (Versluys, Blue 13-14). Consequently, the attacks triggered an immediate wave of responses by professional writers but also by everyday people, who gave vent to their emotions through poetry at particular sites of memory, such as Ground Zero and St. Peter’s Church, on websites,3 and in (published) essays. Writers were encouraged to share their feelings and thoughts in collections such as 110 Stories: New York Writes After September 11 and September 11, 2001: American Writers Respond. These collections show how difficult it was even for professional writers to put their feelings and opinions into writing as Suheir Hammad’s poem “first writing since” illustrates: there have been no words. i have not written one word. no poetry in the ashes south of canal street. no prose in the refrigerated trucks driving debris and dna. not one word. (Hammad 139) Consequently, the attacks of September 11, 2001 became an incisive moment for writers, and they provoked a deep crisis, especially for authors of fiction. Jay McInerney, author of the novel The Good Life (2006), explains that 2 Dori Laub, himself a Holocaust survivor, argues that people react differently to catastrophes; while some feel the “imperative to tell” in order to recover, others feel “the impossibility of telling” (“Truth and Testimony” 62-63). They prefer to remain silent and to keep their trouble and agony to themselves. One possibility to tell, is to put one’s experiences into a narrative through writing to translate the experience and finally work it through. “We are faced with versions of the event’s meaning that continue and coexist, some driven by a wish to know, to bear witness, and some driven by an equally powerful need to not know, to deny and suppress the truth of witnessing” (Laub, “September 11, 2001” 211). 3 e.g. www.voicesnet.org 5 [m]ost novelists I know went through a period of intense self- examination and self-loathing after the terrorist attacks on the World Trade Center. I certainly did. For a while the idea of ‘invented characters’ and alternate realities seemed trivial and frivolous and suddenly, horribly outdated. For a while. (McInerney, “Invention”) Although McInerney states that the attacks indeed marked a low point for authors, he already forebodes that the silence caused by 9/11 was not to be a permanent one. British novelist Ian McEwan confessed that he found it exhausting to deal with fiction and fictional characters and that a turning point seemed to have been reached with the terrorist attacks. He felt he could not return to his daily routine as a writer and that it “’was the time to just go back to school, as it were, and start to learn’” (qtd. in Donadio). Martin Amis, too, admitted that his writing had been deeply affected by the attacks: “The so-called work in progress had been reduced, overnight, to a blue streak of pitiable babble. But then, too, a feeling of gangrenous futility had infected the whole corpus” (qtd. in Mishra, “Innocence”). Writing or not writing about the attacks seemed both impossible. Hence, one of the reasons for the relatively long silence of American novelists is that they had to overcome the shock accompanied by a writer’s block.4 Eventually, the idea of “reluctantly considering a change of occupation” was dismissed (Amis qtd. in Mishra, “Innocence”). Yet, instead of inventing “alternate realities” (McInerney, “Invention”), authors grounded their works in the actual reality of 9/11, telling about experiences and feelings that many Americans could relate to after the attacks. Reviews were seldom in favor of these early fictional outpours. Werner Jung argues “that valid treatments have only been found with a historical phase shift - frequently
Load more

Recommended publications
  • (Im)Mortality in Don Delillo's White Noise, Cosmopolis and Zero K
    LITERATURE Journal of 21st-century Writings Article How to Cite: Maffey, R., and Teo, Y., 2018. “Changing Channels of Techno- logy: Disaster and (Im)mortality in Don DeLillo’s White Noise, Cosmopolis and Zero K.” C21 Literature: Journal of 21st-century Writings, 6(2): 6, pp. 1–23, DOI: https://doi.org/10.16995/c21.74 Published: 16 April 2018 Peer Review: This article has been peer reviewed through the double-blind process of C21 Literature: Journal of 21st-century Writings, which is a journal of the Open Library of Humanities. Copyright: © 2018 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distri- bution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: C21 Literature: Journal of 21st-century Writings is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Maffey, R., and Teo, Y., 2018. “Changing Channels of Technology: Disaster and (Im)mortality in Don DeLillo’s White Noise, Cosmopolis LITERATURE Journal of 21st-century Writings and Zero K.” C21 Literature: Journal of 21st-century Writings, 6(2): 6, pp. 1–23, DOI: https://doi.org/10.16995/c21.74 ARTICLE Changing Channels of Technology: Disaster and (Im)mortality in Don DeLillo’s White Noise, Cosmopolis and Zero K Ross Maffey and Yugin Teo Bournemouth University, GB Corresponding author: Yugin Teo ([email protected]) This article examines the changing representation of technology in three of DeLillo’s novels, White Noise, Cosmopolis and Zero K, and traces the con- ceptual and philosophical developments in his writing concerning the two key themes of disaster and mortality.
    [Show full text]
  • 'Little Terrors'
    Don DeLillo’s Promiscuous Fictions: The Adulterous Triangle of Sex, Space, and Language Diana Marie Jenkins A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy The School of English University of NSW, December 2005 This thesis is dedicated to the loving memory of a wonderful grandfather, and a beautiful niece. I wish they were here to see me finish what both saw me start. Contents Acknowledgements 1 Introduction 2 Chapter One 26 The Space of the Hotel/Motel Room Chapter Two 81 Described Space and Sexual Transgression Chapter Three 124 The Reciprocal Space of the Journey and the Image Chapter Four 171 The Space of the Secret Conclusion 232 Reference List 238 Abstract This thesis takes up J. G. Ballard’s contention, that ‘the act of intercourse is now always a model for something else,’ to show that Don DeLillo uses a particular sexual, cultural economy of adultery, understood in its many loaded cultural and literary contexts, as a model for semantic reproduction. I contend that DeLillo’s fiction evinces a promiscuous model of language that structurally reflects the myth of the adulterous triangle. The thesis makes a significant intervention into DeLillo scholarship by challenging Paul Maltby’s suggestion that DeLillo’s linguistic model is Romantic and pure. My analysis of the narrative operations of adultery in his work reveals the alternative promiscuous model. I discuss ten DeLillo novels and one play – Americana, Players, The Names, White Noise, Libra, Mao II, Underworld, the play Valparaiso, The Body Artist, Cosmopolis, and the pseudonymous Amazons – that feature adultery narratives.
    [Show full text]
  • Transatlantica, 1 | 2002 Don Delillo : Une Bibliographie Sélective 2
    Transatlantica Revue d’études américaines. American Studies Journal 1 | 2002 Jeune République Don DeLillo : une bibliographie sélective Aaron Smith Édition électronique URL : http://journals.openedition.org/transatlantica/523 DOI : 10.4000/transatlantica.523 ISSN : 1765-2766 Éditeur AFEA Référence électronique Aaron Smith, « Don DeLillo : une bibliographie sélective », Transatlantica [En ligne], 1 | 2002, mis en ligne le 23 mars 2006, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/ 523 ; DOI : https://doi.org/10.4000/transatlantica.523 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Don DeLillo : une bibliographie sélective 1 Don DeLillo : une bibliographie sélective Aaron Smith Oeuvres de Don DeLilloRomans 1 Americana. 1971. London : Penguin, 1990. 2 End Zone. 1972. New York : Penguin, 1986. 3 Great Jones Street. 1973. New York : Penguin, 1994. 4 Ratner’s Star. 1976. London : Vintage, 1991. 5 Players. 1977. London : Vintage, 1991. 6 Running Dog. 1978. London : Picador, 1992. 7 The Names. 1982. New York : Vintage, 1989. 8 White Noise. 1984. London : Picador, 1985. 9 Libra. 1988. London : Penguin, 1989. 10 Mao II. 1991. London : Vintage, 1992. 11 Underworld. 1997. New York : Scribner, 1997. 12 The Body Artist. 2001. New York : Picador, 2001. 13 Cosmopolis. New York : Scribner, 2003 (à paraître) Théâtre 14 The Engineer of Moonlight. Cornell Review 1 (1979) : 21‑47. 15 The Day Room. 1986. New York : Penguin, 1989. 16 The Rapture of the Athlete Assumed into Heaven.
    [Show full text]
  • Staging Delillo
    Staging DeLillo Rebecca Rey B.A. (Hons), The University of Western Australia, 2006 10322929 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Social and Cultural Studies Discipline of English and Cultural Studies 2012 Abstract This thesis examines the plays of Don DeLillo. Although DeLillo‘s novels have received much critical discussion, his theatre works, with a few exceptions, have been largely ignored in literary circles. This thesis focuses on DeLillo‘s plays to rectify, in part, the lack of scholarship on this topic. In what follows I will examine each of DeLillo‘s six playtexts in chronological order, devoting a chapter to each of his main plays. Common themes emerging across the oeuvre are the centrality of language, the human fear of death, the elusiveness of truth, and the deception of personal identity. In order to provide a comprehensive critical analysis of DeLillo‘s plays, I will draw on a wide range of sources, including DeLillo‘s novels, personal notes and correspondence, interviews with the writer, and theatre performance reviews, in order to reach a better critical understanding of DeLillo‘s plays. This unprecedented examination of DeLillo‘s plays contributes not only to a deeper understanding of his other fictional works, but is rewarding in itself, as the plays can stand alone as being worthy of critical attention. In Chapter 1, I present an analysis of DeLillo‘s ‗The Engineer of Moonlight‘ (1979)—his first published, but as yet unperformed, playtext. ‗The Engineer‘ bears striking similarities in theme with DeLillo‘s earlier novel Ratner’s Star (1976).
    [Show full text]
  • Transatlantica, 1 | 2020 Time-Images in Don Delillo’S Writing: a Reading of the Body Artist, Point Ome
    Transatlantica Revue d’études américaines. American Studies Journal 1 | 2020 Conjunctions of the Literary and the Philosophical in Twentieth- and Twenty-First-Century American Writing Time-Images in Don DeLillo’s Writing: A Reading of The Body Artist, Point Omega and Zero K Andrea Pitozzi Electronic version URL: http://journals.openedition.org/transatlantica/15751 DOI: 10.4000/transatlantica.15751 ISSN: 1765-2766 Publisher AFEA Electronic reference Andrea Pitozzi, “Time-Images in Don DeLillo’s Writing: A Reading of The Body Artist, Point Omega and Zero K”, Transatlantica [Online], 1 | 2020, Online since 01 December 2020, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/15751 ; DOI: https://doi.org/10.4000/ transatlantica.15751 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Time-Images in Don DeLillo’s Writing: A Reading of The Body Artist, Point Ome... 1 Time-Images in Don DeLillo’s Writing: A Reading of The Body Artist, Point Omega and Zero K Andrea Pitozzi Time is too difficult. Don DeLillo, Zero K (68) In the Realm of Images 1 In his writings Don DeLillo has always employed images as a powerful instrument providing an immediate access to post-World-War-II American culture. From the remarks on the world of media and cinema contained in his first novel Americana (1971) to the detailed descriptions of the video of Kennedy’s assassination in Libra (1988), from discussions on photography and television in White Noise (1985) or Mao II (1991) to the constellation of photographs, movies and video frames haunting the pages of Underworld (1997), the writer has frequently selected iconic images from the twentieth century as a narrative basis.
    [Show full text]
  • Technology and Cyberspace: Don Delillo
    Technology and Cyberspace: Don DeLillo + Kinuyo Koikawa Part-time Lecturer, Kyushu University Abstract. This paper explores how people respond to technology, in particular to cyberspace. Through various works of Don DeLillo (1936-), the American novelist, this paper argues how our being is threatened in the technological age because information manipulation ability easily makes people harbor the illusion that the world revolves around them, so thus we excessively depend on technology – the illusion that even immortality can be obtained in cyberspace. Our way of thinking also has become a technological one. Extreme dependence on technology creates a kind of cyberspace paranoia. However, there is also hope. In cyberspace, everything is connected. Of course equations to make bombs on computer monitors end up in real bombs, but on the other hand a seraphic word on computer monitors could change the world for the better. If a great many people are connected in cyberspace with strong intentions to achieve peace, our world will become peaceful. Predicting the nature of such connections in cyberspace, DeLillo forecasts the arrival of social network services, such as Facebook. Keywords: Leading-Edge Technology, Cyberspace, Computers, Threats to Human Existence, Hope, Immortality, Interconnectivity, Social Network System, Facebook. 1. Introduction We have witnessed a remarkable advancement of technology in recent years. Technology continues to evolve, and many people are now enjoying connections via social network systems, exemplified most famously by Facebook. Don DeLillo has cast his piercing vision on such changes in our society and has provided insights into various aspects of our world, ranging from our very being to our language, culture, and technology, and shown us how “People in this world have needs and desires shaped by technology.”1 This paper aims to explore how technology and cyberspace are deeply related to human beings by examining fundamental implications in DeLillo’s works.
    [Show full text]
  • Tion of Don Delillo
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Delirious USA: the representation of capital in the fic- tion of Don DeLillo https://eprints.bbk.ac.uk/id/eprint/40479/ Version: Full Version Citation: Travers, Thomas William Lynn (2020) Delirious USA: the repre- sentation of capital in the fiction of Don DeLillo. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Birkbeck, University of London Delirious USA: The Representation of Capital in the Fiction of Don DeLillo Thomas William Lynn Travers Submitted for the degree of Doctor of Philosophy 2019 1 Declaration I, Thomas William Lynn Travers, declare that this thesis is my own work. Where I have drawn upon the work of other researchers, this has been fully acknowledged. 2 Abstract In this thesis I offer a new reading of Don DeLillo’s fiction through an engagement with contemporary Marxist literary theory and political economy. Beginning in the 1960s, the thesis traces the launch, expansion, and shattering of DeLillo’s narrative apparatus as it recomposes itself across the genres of the short story, the conspiratorial thriller, the historical novel, and the novel of time. Developing on theories of the novel as a capitalist epic, the thesis takes the insistent appearance of surplus populations in DeLillo’s work as an opportunity to reflect on, but also to revise and reconceptualise, Marxist accounts of the novel and its philosophy of history.
    [Show full text]
  • Kierkegaard's Reflection in Don Delillo's Novel „Falling Man?
    European Journal of Science and Theology, February 2017, Vol.13, No.1, 15-23 _______________________________________________________________________ KIERKEGAARD’S REFLECTION IN DON DELILLO’S NOVEL ‘FALLING MAN’ Martina Pavlíková* Constantine the Philosopher University in Nitra, Faculty of Arts, Central European Research Institute of Søren Kierkegaard, Hodžova 1, 949 74 Nitra, Slovak Republic (Received 7 October 2016) Abstract This paper analyses Don DeLillo‟s novel „Falling Man‟, which is concerned with the symbolic nature of terrorist violence portrayed and interpreted through the mass media that are able to create a specific simulacrum of reality. DeLillo‟s narrative examines the possibilities of reinventing one‟s individual identity and the tendency of individuals to construct their own identities through a group mentality as well. The paper also deals with the influence of the Danish thinker Soren Kierkegaard on the novel „Falling Man‟. Keywords: subjectivity, terrorism, despair, anxiety, hedonism 1. Introduction Don DeLillo (1936) is a very significant American writer, playwright and essayist. He currently belongs among the most phenomenal and important novelists of modern American literary era. Literary critic Harold Bloom “named him as one of the four major American novelists of his time, along with Thomas Pynchon, Philip Roth, and Cormac McCarthy” [1]. He is considered to be a representative of postmodern literature. Don DeLillo himself stresses that he has been profoundly influenced by “abstract expressionism, European movies and jazz” [2]. His unique literary work reflects the concept of man and modern society being impacted by the advances of Science and technology. His novels intertwine modern appliances, scientific technology, mass media, nuclear wars, sport, various forms of art, cultural performances, cultural objects, cold war, digital age, economy, conspiracy theories and global terrorism.
    [Show full text]
  • Negative Reviews of Falling Man
    Schweighauser and Schneck 1 Do not cite. Schweighauser, Philipp and Peter Schneck. "Introduction: The American and the European DeLillo." Terrorism, Media, and the Ethics of Fiction: Transatlantic Perspectives on Don DeLillo. Ed. Schneck and Schweighauser. New York: Continuum, 2010. 1-15. The published version of this essay is available here: http://www.bloomsbury.com/us/terrorism-media-and-the-ethics-of-fiction- 9781441139931/ Prof. Dr. Philipp Schweighauser Assistant Professor and Head of American and General Literatures Department of English University of Basel Nadelberg 6 4051 Basel Switzerland Phone Office: +41 61 267 27 84 Phone Secretary: +41 61 267 27 90 Fax: +41 61 267 27 80 Email: [email protected] Schweighauser and Schneck 2 Prof. Dr. Peter Schneck Director of the Institute for English and American Studies University of Osnabrück Neuer Graben 40 Room 123 D-49069 Osnabrück Germany Phone: +49 541 969 44 12 or +49 541 969 60 42 Fax: +49 541 969 42 56 Email: [email protected] Introduction: The American and the European DeLillo Philipp Schweighauser and Peter Schneck In Mao II (1991), Don DeLillo lets his protagonist, the novelist Bill Gray, speak words that have been read as eerily prophetic in the aftermath of 9/11: "Years ago [...] I used to think it was possible for a novelist to alter the inner life of the culture. Now bomb-makers and gunmen have taken that territory. They make raids on human consciousness" (41). While the collective imagination of the past was guided, DeLillo seems to suggest, by the creative order and ethos of narrative fictions told by novelists, our contemporary fantasies and anxieties are completely controlled by the endless narratives of war and terror constantly relayed by the mass media.
    [Show full text]
  • Prologue 1. from Robert Faurison, a Lifelong Holocaust Denier From
    Notes Prologue 1. From Robert Faurison, a lifelong Holocaust denier from France, to David Duke, the American white supremacist politician and former Ku Klux Klan leader, who contended that no gas chambers or exter- mination camps were actually built during the war on the grounds that killing Jews by that method would have been cost-prohibitive and much too bothersome. “The number of victims at the Auschwitz concentration camp could be about 2,007. The railroad to the camp did not have enough capacity to transfer large numbers of Jews,” said another speaker. The conference included an exhibition of various photos, posters, and other materials meant to contradict the accepted version of events, that the Nazis murdered millions of Jews and other “undesirables” in death camps during the war. Some familiar pho- tos of corpses at the camps bore new captions in Persian arguing that they were victims of typhus, not the German state. This dis- cussion of the Holocaust denial conference is based on “Iran Hosts Holocaust Deniers,” Associated Press, December 12, 2006; Nazila Fathi, “Holocaust Deniers and Skeptics Gather in Iran,” New York Times , December 11, 2006; “Rogues and Fools,” Editorial, New York Times , December 15, 2006; Tammy Bruce, “This Weekend: Iran’s Holocaust Denial Conference.” Blog. : <http://tammybruce. com/2006/12/this_weekend_irans_holocaust_d_html>; “Hatred on Parade,” Editorial, Daily Camera , December 14, 2006. 2. Minow 123. For an extended discussion of various manifestations of justice ensuing from trials, truth commissions, and reparations, see Minow 123–33. 3. In 1995 Queen Elizabeth II became the first British monarch ever to make an official apology.
    [Show full text]
  • Love-Lies-Bleeding Teacher's Resource
    Sydney Theatre Company and Ebsworth & Ebsworth present Love-Lies-Bleeding By Don DeLillo Teacher's Resource Kit written and compiled by Jeffrey Dawson Acknowledgements I would like to thank the following for their invaluable material for these Teachers' Notes: Laura Scrivano, Publications Manager, STC; Filomena Impagnatiello Copyright Copyright protects this Teacher’s Resource Kit. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. Sydney Theatre Company’s Love-Lies-Bleeding Teachers Notes © 2007 1 Important Information Love-Lies-Bleeding Schools Day Performance Date: Wednesday 1 August 2007 Venue: Wharf 1, Walsh Bay Pre-performance forum 10.30am Lunch Break 11.15am Performance commences: 12.15pm Performance concludes: 1.45pm Please note there will be no interval Post performance Q+A concludes 2pm We respectfully ask that you discuss theatre etiquette with your students prior to coming to the performance. Booking Queries Please contact Barbara Vickery on 02 9250 1778 or [email protected] General Education Queries Please contact Helen Hristofski, Education Manager, on 02 9250 1726 or [email protected] Sydney Theatre Company’s Love-Lies-Bleeding Teachers Notes © 2007 2 Contents Sydney Theatre Company 4 Sydney Theatre Company Education 5 Cast and Production Team 6 Don DeLillo, Playwright 7 Lee Lewis, Director 8 Memory and Territory: Interview with Lee Lewis 8 Plot Synopsis
    [Show full text]
  • Valparaiso-A-Play.Pdf
    (Download free ebook) Valparaiso: A Play Valparaiso: A Play Don DeLillo ebooks | Download PDF | *ePub | DOC | audiobook #1108079 in Books Don DeLillo 2003-06-13 2000-06-13Original language:EnglishPDF # 1 8.00 x .30 x 5.25l, .27 #File Name: 0684865688107 pagesISBN13: 9780684865683Condition: NewNotes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold! | File size: 63.Mb Don DeLillo : Valparaiso: A Play before purchasing it in order to gage whether or not it would be worth my time, and all praised Valparaiso: A Play: 0 of 0 people found the following review helpful. Four StarsBy Ronny P KayeNeo-Classical work by Delillo. Worth a read.3 of 4 people found the following review helpful. Go for his fiction, not dramaBy Daniel E. WickettThis is Delillo's second published play to go with (at the time, 1999) his eleven novels. It is a play in two acts with only five characters. Two of the characters, Michael and his wife Livia, appear in both actsThe basis of the play is that they are being interviewed due to a trip Michael took, thinking he was going to Valparaiso, IN and ending up in Valparaiso, Chile. This play takes on many of Delillo's usual topics, just not as well as he does in his novels.Reviewing a reading of a play is always more difficult than a novel or a collection of short stories as you do not enjoy the work of art as it was meant to be presented to you.
    [Show full text]