White noise

Don DeLillo

In this excerpt from End Zone (1972), protagonist Gary Harkness describes the origins of his fascination with nuclear war.

from END ZONE

It started with a book, an immense volume about the possibilities of nuclear war—assigned reading for a course I was taking on the modes of disaster technology. The problem was simple and terrible: I enjoyed the book. I liked reading about the deaths of tens of millions of people. I liked dwelling on the destruction of great cities. Five to twenty million dead. Fifty to a hundred million dead. Ninety percent population loss. Seattle wiped out by mistake. Moscow demolished. Airbursts over every SAC base in Europe. I liked to think of huge buildings toppling, of firestorms, of bridges collapsing, survivors roaming the charred countryside. Carbon 14 and strontium 90. Escalation ladder and subcrisis situation. Titan, Spartan, Poseidon. People burned and unable to breathe. People being evacuated from doomed cities. People diseased and starving. Two hundred thousand bodies decomposing on the roads outside Chicago. I read several chapters twice. Pleasure in the contemplation of millions dying and dead. I became fascinated by words and phrases like thermal hurricane, overkill, circular error probability, post-attack environment, stark deterrence, dose-rate contours, kill-ratio, spasm war. Pleasure in these words. They were extremely effective, I thought, whispering shyly of cycles of destruction so great that the language of past world wars became laughable, the wars themselves somewhat naive. A thrill almost sensual accompanied the reading of this book. What was wrong with me? Had I gone mad? Did others feel as I did? I became seriously depressed. Yet I went to the library and got more books on the subject. Some of these had been published well after the original volume and things were much more up-to-date. Old weapons vanished. Megatonnage soared. New concepts appeared—the rationality of irrationality, hostage cities, orbital attacks. I became more fascinated, more depressed, and finally I left Coral Gables and went back home to my room and to the official team photo of the Detroit Lions. It seemed the only thing to do. My mother brought lunch upstairs. I took the dog for walks.

* * *

Major Staley, who plays nuclear-war games with Gary, theorizes about nuclear weapons.

"There's a kind of theology at work here. The bombs are a kind of god. As his power grows, our fear naturally increases. I get as apprehensive as anyone else, maybe more so. We have too many bombs. They have too many bombs. There's a kind of theology of fear that comes out of this. We begin to capitulate to the overwhelming presence. It's so powerful. It dwarfs us so much. We say let the god have his way. He's so much more powerful than we are. Let it happen, whatever he ordains. It used to be that the gods punished men by using the forces of nature against them or by arousing them to take up their weapons and destroy each other. Now god is the force of nature itself, the fusion of tritium and deuterium. Now he's the weapon. So maybe this time we went too far in creating a being of omnipotent power. All this hardware. Fantastic stockpiles of hardware. The big danger is that we'll surrender to a sense of inevitability and start flinging mud all over the planet."

* * *

During a meal, Gary's college roommate Anatole Bloomberg discourses on violence.
"I am interested in the violent man and the ascetic. I am on the verge of concluding that an individual's capacity for violence is closely linked with his ascetic tendencies. We are about to rediscover that austerity is our true mode. In our future meditations we may decide to seek the devil's death. In our silence and terror we may steer our technology toward the metaphysical, toward the creation of some unimaginable weapon able to pierce spiritual barriers, to maim or kill whatever dark presence envelopes the world. You will say this seems an unlikely matter to engage the talents of superrational man. But it is precisely this kind of man who has been confronting the unreal, the paradoxical, the ironic, the satanic. After all, the ultimate genius of modern weapons, from the purely theoretical standpoint, is that they destroy the unborn much more effectively than they destroy the living. We can go on from there to frame any number of provocative remarks but we will resist the temptation. We all know that life, happiness, fulfillment come surging out of particular forms of destructiveness. The moral system is enriched by violence put to positive use. But as the capacity for violence grows in the world, the regenerative effects of specific violent episodes become less significant. The capacity overwhelms everything. The mere potential of one form of violence eclipses the actuality of other forms. I am interested in these things. I am also interested in the discontinuation of contractions. Medial letters are as valid as any others. I have already begun to revise my speech patterns accordingly."

We were all laughing, not knowing exactly why. Maybe we thought Bloomberg was crazy. Or maybe we laughed because it was the only reaction we could trust, the only one that could keep us at a safe distance. Anatole, replying to the laughter, tapped his spoon against the plastic tray to his right. I finished my corn flakes and proceeded, as arranged, to the library.

Don DeLillo

In this excerpt from Players, Lyle Wynant practices watching television and his wife, Pammy, provides commentary.

from PLAYERS

Lyle passed time watching television. Sitting in near darkness about eighteen inches from the screen, he turned the channel selector every half minute or so, sometimes much more frequently. He wasn't looking for something that might sustain his interest. Hardly that. He simply enjoyed jerking the dial into fresh image-burns. He explored content to a point. The tactile-visual delight of switching channels took precedence, however, transforming even random moments of content into pleasing territorial abstractions. Watching television was for Lyle a discipline like mathematics or Zen. Commercials, station breaks, Spanish-language dramas had more to offer as a rule than standard programming. The repetitive aspect of commercials interested him. Seeing identical footage many times was a test for the resourcefulness of the eye, its ability to re-select, to subdivide an instant of time. He rarely used sound. Sound was best served by those UHF stations using faulty equipment or languages other than English.

Occasionally he watched one of the public-access channels. There was an hour or so set aside every week for locally crafted pornography, the work of native artisans. He found on the screen a blunter truth certainly than in all that twinkling flesh in the slick magazines. He sat in his bowl of curved space, his dusty light. There was a child's conspicuous immodesty in all this genital aggression. People off the streets looking for something to suck. Hand-held cameras searching out the odd crotch. Lyle was immobile through this sequence of small gray bodies. What he saw retained his attention completely even as it continued to dull his senses. The hour seemed like four. Weary as he was, blanked out, bored by all these posturing desperadoes, he could easily have watched through the night, held by the mesh effect of television, the electrostatic glow that seemed a privileged state between wave and visual image, a secret of celestial energy. He wondered if he'd become too complex to look at naked bodies, as such, and be stirred.

"Here, look. We're here, folks. The future has collapsed right in on us. And what does it look like?"

"You made me almost jump."

"It looks like this. It looks like waves and waves of static. It's being beamed in ahead of schedule, which accounts for the buzzing effect. It looks like seedy people from Mercer Street."

"Let me sleep, hey."

"See, look, I'm saying. Just as I speak. I mean it's this. We're sitting watching in the intimacy and comfort of our bedroom and they've got their loft and their camera and it gets shown because that's the law. As soon as they see a camera they take off their clothes. It used to be people waved."