Mark Greif writes:
Don DeLillo’s new novel makes a direct but counterintuitive approach to the destruction of the World Trade Center on 11 September 2001. It is anti-sentimental: constructed in short episodes, it prohibits sympathy or tears. It is anti-grandiose: it retreats from the big pronouncements its peripheral characters try to make about terrorism, America, the West, the Middle East. It is anti-paranoiac: it has no sense of dread about terrors that might still come, and doesn’t dwell on conspirators or victims or heroes.