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Aug 22, 2007



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Although this analysis does indeed reveal the attention to detail evident in Delillo's writing--especially his obsession with language games and grammar--Sharpe's advocacy for Delillo's rigor and felicity is strained to the point of incredulity by the very examples he chooses. As in the paragraph below:

“He began to think into the day, into the minute. It was being here, alone in time, that made this happen, being away from routine stimulus, all the streaming forms of office discourse.” There are several felicitous turns of phrase and modifications here-DeLillo is one of my favorite wielders of a comma among contemporary writers-but I will limit myself to suggesting that not only is the first appositive phrase, “routine stimulus,” given specific embodiment in the second, “all the streaming forms of office discourse,” but the repetitions of vowels and consonants that constitute the sentence's melody serve as acoustical underscore to the semantic doubling of the apposition. In other words, part of what makes DeLillo good is that his sentences sound good, and that the sound reinforces the meaning by giving it a physical dimension, as in music or poetry.

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A truly wacky apposition, the kind that so frustrates DeLillo's grassroots base of ardent detractors, and is exactly the sort of thing about his work that excites

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Say you are writing material for publication on my blog?
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