德里罗访谈Word格式.docx
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德里罗访谈Word格式.docx
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sstation,theauthorandhiswife,BarbaraBennett,arewaiting.Thesunisblazing,andtheAugustheatiscrushing.Likethetraintrip,whichlinksthequotidiansplendorandthenightmarishundersideoftheAmericandream,thebrutalweatherseemsappropriate."
Thisisthelastcomfortablemomentyou'
llhaveforawhile,"
DeLillosayswithasmileashegetsintothecar."
Thecarisair-conditioned,butthehouseisn'
t."
OneofthemajorvoicesinAmericanfictionfornearlytwodecades,DeLillo,whoisnowfifty-one,rarelygrantsinterviews.Helacks"
thenecessaryessaryself-importance,"
asheputsit."
I'
mjustnotapublicman,"
hesays."
dratherwritemybooksinprivateandthensendthemoutintotheworldtodiscovertheirownpubliclife."
Butthepublicationofhisninthnovel,
Libra
–afictionalaccountoftheassassinationofJohnKennedy,toldfromtheperspectiveofLeeHarveyOswald–
haspromptedhimtospeak.
"
iseasiertotalkaboutthanmypreviousbooks,"
DeLillosays."
Theobviousreasonisit'
sgroundedinrealityandtherearerealpeopletodiscuss.Evensomeonewhohasn'
treadthebookcanrespondatleastinalimitedwaytoanydiscussionofpeoplelikeLeeOswaldorJackRuby.Itisfirmermaterial.I'
malwaysreluctanttogetintoabstractdiscussions,whichIadmitmyearliernovelstendedtoleantoward.Iwrotethem,butIdon'
tnecessarilyenjoytalkingaboutthem."
Still,
–
whichisDeLillo'
sfirstbestsellerandanomineefora1988NationalBookAwardforfictionismoreofaculminationthanadeparture.DeLillo'
sfirstnovel,American,whichappearedin1971,endsinDealeyPlaza,inDallas,thesiteoftheKennedyassassination,andreferencestotheslayingturnupinseveralofhisotherbooks.In1983,DeLillowroteapieceforRollingStoneabouttheimpactoftheassassinationtwentyyearslater.Titled"
AmericanBlood,"
thatessayeffectivelyservesasapré
cisfor
Libra.
Moreover,ratherthanadvancingyetanother"
the-ory"
oftheassassination,
simplycarriesforwardthethemesofviolenceandconspiracythathavecometodefineDeLillo'
sfiction."
Thisisaworkoftheimagination,"
hewritesintheauthor'
snotethatconcludesthebook."
Whiledrawingfromthehistoricalrecord,I'
vemadenoattempttofurnishfactualanswerstoanyquestionsraisedbytheassassination."
Instead,hehopesthenovelwillprovide"
awayofthinkingabouttheassassinationwithoutbeingconstrainedbyhalf-factsoroverwhelmedbypossibilities,bythetideofspeculationthatwidenswiththeyears."
In
Libra,DeLillodescribesthemurderofthepresidentas"
thesevensecondsthatbrokethebackoftheAmericancentury."
Butthiscataclysmdiffersonlyinscalefromthekillingsthatshattercomplacent,enclosedlivesinthenovels
Players
(1977),
RunningDog
(1978)andTheNames
(1982).Similarly,thecollege-footballplayerwhoisthemaincharacterin
EndZone
(1972)andtherock-starheroof
GreatJonesStreet
(1973)bothachieveanalienationthatrivalstheemotionalstateDeLilloseesinLeeHarveyOswald.Apocalypticeventsprofoundintheirimpactanduncertainintheirultimatemeaningshadow
Ratner'
sStar
(1976)and
WhiteNoise
(1985),justastheassassinationdoestheworldof
andourworld,aquarterofacenturyafteritoccurred.
ThisinterviewtakesplaceinDeLillo'
sbackyard;
afterwardwe'
llheadtoadineronthetownsquare–
avillagecenter"
likesomethingoutoftheFifties,"
DeLillosaysapprovingly–
foralatelunchofburgers,friesandCokes.Inhisyard,DeLillositsonalawnchairandsipsicedtea.Fortunately,theyardisshady,andtheskycloudsoverabit.Evenso,theheat,thehumidity,thelushgreenofthegroundsandtheeeriedinofcicadasgivethesceneanalmosttropicalfeel.DeLillo–
wiryandintense,wearingjeansandaplaidshirtopenatthecollar,speakingwithdeliberateslownessinagrippingmonotone–
seemstheimageofamodern-dayKurtz,aliteraryexploreroftheheartofdarknesscomfortablyathomeinthesuburbsofAmerica.
TheKennedyassassinationseemsperfectlyinlinewiththeconcernsofyourfiction.Doyoufeelyoucouldhaveinventeditifithadn'
thappened?
Maybeitinventedme.Certainly,whenithappened,Iwasnotafullyformedwriter;
Ihadonlypublishedsomeshortstoriesinsmallquarterlies.AsIwasworkingon
Libra,itoccurredtomethatalotoftendenciesinmyfirsteightnovelsseemedtobecollectingaroundthedarkcenteroftheassassination.
Soit'
spossibleIwouldn'
thavebecomethekindofwriterIamifitweren'
tfortheassassination.
Whatkindofimpactdidtheassassinationhaveonyou?
Ithadastrongimpact,asitobviouslydidforeveryone.Astheyearshaveflowedawayfromthatpoint,Ithinkwe'
veallcometofeelthatwhat'
sbeenmissingoverthesepasttwenty-fiveyearsisasenseofamanageablereality.MuchofthatfeelingcanbetracedtothatonemomentinDallas.Weseemmuchmoreawareofelementslikerandomnessandambiguityandchaossincethen.
Acharacterinthenoveldescribestheassassinationas"
anaberrationintheheartlandofthereal."
Westillhaven'
treachedanyconsensusonthespecificsofthecrime:
thenumberofgunmen,thenumberofshots,thelocationoftheshots,thenumberofwoundsinthepresident'
sbody--thelistgoesonandon.Beyondthisconfusionofdata,peoplehavedevelopedasensethathistoryhasbeensecretlymanipulated.Documentslostanddestroyed.Officialrecordssealedforfiftyorseventy-fiveyears.AnumberofsuggestivemurdersandsuicidesinvolvingpeoplewhowereconnectedtotheeventsofNovember22nd.Sofromtheinitialimpactofthevisceralshock,Ithinkwe'
vedevelopedamuchmoredeeplyunsettledfeelingaboutourgriponreality.
Youhavebeeninterestedforalongtimeinthemedia,whichcertainlyplayedamajorroleinthenationalexperienceoftheassassination.Televisionhadjustmadeitsimpactonpoliticsinthe1960election,andthenfortheweekfollowingthemurder,itseemedthateveryonewaswatchingtelevision,seeingJackRuby'
smurderofLeeHarveyOswaldandthenKennedy'
sfuneral.It'
sasifthepowerofthemediainourculturehadn'
tbeenfullyfeltuntilthatpoint.
It'
sstrangethatthepoweroftelevisionwasutilizedtoitsfullest,perhapsforthefirsttime,asitpertainedtoaviolentevent.Notonlyaviolentbut,ofcourse,anextraordinarilysignificantevent.Thishasbecomepartofourconsciousness.We'
vedevelopedalmostasenseofperformanceasitappliestotelevisedevents.AndIthinksomeofthepeoplewhoareessentialtosuchevents–
particularlyviolenteventsandparticularlypeoplelikeArthurBremerandJohnHinckley[thewould-beassassins,respectively,ofGeorgeWallaceandRonaldReagan]–
aresimplycarryingtheirperformingselvesoutofthewingsandintothetheater.Suchyoungmenhaveasenseofthewayinwhichtheiractswillbeperceivedbytherestofus,evenastheycommittheacts.Sothereisadeeplyself-referringelementinourlivesthatwasn'
ttherebefore.
Yourefertotheassassinationatvariouspointsinnovelspriorto'
andofcourse,youwroteanessayabouttheassassinationforthismagazinein1983.Whatfinallymadeyoufeelthatyouhadtopursueitasthesubjectofanovel?
Ididn'
tstartthinkingaboutitasamajorsubjectuntiltheearlypartofthisdecade.WhenIdidthe1983pieceinROLLINGSTONE,IbegantorealizehowenormouslywidereachingthematerialwasandhowmuchmoredeeplyIwouldhavetosearchbeforeIcouldbegintodojusticetoit.
PossiblyamotivatingelementwasthefactthatOswaldandIlivedwithinsixorsevenblocksofeachotherintheBronx.Ididn'
tknowthisuntilIdidtheresearchfortheROLLINGSTONE
piece.Heandhismother,Marguerite,traveledtoNewYorkin'
52orearly'
53,becauseheroldestsonwasstationedatEllisIslandwiththeCoastGuard.TheygotinthecaranddroveallthewaytoNewYorkandeventuallysettledintheBronx.OswaldlivedveryneartheBronxZoo.IguesshewasthirteenandIwassixteenatthetime.
Diditseemoddthatsomereviewsevaluatedyourtheoryoftheassassinationalmostasifitwerefactandnotfiction?
Inevitablysomepeoplereviewedtheassassinationitselfinsteadofapieceofworkwhichisobviouslyfiction.MyownfeelingattheverybeginningwasthatIhadtodojusticetohistoricallikelihood.Inotherwords,IchosewhatIconsiderthemostobviouspossibility:
thattheassassinationwastheworkofanti-Castroelements.Icouldperhapshavewrittenthesamebookwithacompletelydifferentassassinationscenario.IwantedtobeobviousinthiscasebecauseIdidn'
twantnovelisticinventiontobecometheheartofthebook.IwantedaclearhistoricalcenteronwhichIcouldworkmyfictionalvariations.
Apartfromthepersonalreasonyoumentioned,whydidyouchoosetotellthestoryfromOswald'
spointofview?
IthinkIhaveanideaofwhatit'
sliketobeanoutsiderin
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