Ratner’s Star by Don DeLillo

A book editor named Gerald Howard believes Don DeLillo deserves the Nobel Prize in Literature:

By every metric that we use to measure literary greatness—including overall achievement, scope and variety of subject matter, striking and fully realized style, duration of career, originality and formal innovation, widespread influence here and abroad, production of masterpieces, consistency of excellence, pertinence of themes, density of critical commentary, and dignity in the conduct of a literary career—Don DeLillo, now eighty-three, scores in the highest possible percentile. 

He says DeLillo’s case for the Nobel rests on four propositions:

1. “No American novelist has examined more broadly and with greater insight and originality our postwar history and experience”.

2. “The astonishing and unmatched string of four midcareer masterpieces: White Noise (1985), Libra (1988), Mao II (1991), and Underworld (1997). [All] permanently lodged in the record of American literary greatness.

3. DeLillo’s influence:  [His] work is currently available in forty-three languages and/or countries. He is a true global phenomenon. . . . In the anglophone and domestic spheres, there is no writer more revered than DeLillo.

4.  “The dignity and nobility that he has brought to his vocation as a novelist. . . . He eschews almost all the encumbrances and strategies of a postmodern literary career”.

I’ve read the four novels mentioned above and several of his others. DeLillo is clearly worthy of the Nobel Prize. It’s too bad the Swedish Academy marches to its own peculiar set of drums.

Since DeLillo has a new novel coming out (The Silence), The New York Times interviewed him this month. They gave the interview this title: “We All Live in Don DeLillo’s World. He’s Confused By It Too”:

A permeating paranoia. Profound absurdity. Conspiracy and terrorism. Technological alienation. Violence bubbling, ready to boil. This has long been the stuff of Don DeLillo’s masterly fiction. It’s now the air we breathe. For nearly 50 years and across 17 novels, [he] has summoned the darker currents of the American experience with maximum precision and uncanny imagination.

The interviewer asked a question about DeLillo’s 1976 novel, Ratner’s Star. It’s not a well-known book, possibly because it’s been called “his weirdest novel” and “famously impenetrable” (which must mean “famously” among a small group of readers and critics). A footnote to the Times interview says it’s an “intricately structured semi-sci-fi romp”. That was enough for me to get a copy and start reading (I had a copy years ago but it’s long gone).


For the first 275 pages, Ratner’s Star didn’t seem impenetrable at all. It’s about a 14-year old math genius who (coincidentally) has won the Nobel Prize. He is invited to a secretive, well-funded installation where lots of brilliant, generally strange people are trying to decipher what appears to be a message from an alien civilization. DeLillo writes beautifully and the plot is interesting. Will young Billy Twillig (formerly “Terwilliger”) from The Bronx (where DeLillo is from) figure out what the message means? Does it mean anything at all? I liked this part of the book and its amusing conversations and technical explanations and foresaw no problem reading the rest.

Then the plot takes a detour. Billy descends into a cavern far beneath the installation with a small group whose purpose is to create a purely logical, universal language. They hope to use this new language to communicate with the alien civilization (assuming there are aliens out there). Since the little group’s purpose makes no sense, the novel’s suspense disappears. There is frequent stream of consciousness. The point of view suddenly changes from one character to another. There are tangents and long passages that feel pointless, as if DeLillo is treading water. Billy becomes a secondary character.

Something eventually happens in a section called “A Lot Happens”. Something else happens in the next section, “I Sit A While Longer”. But between those two developments, a peripheral character spends several pages exploring a cave because he’s fascinated by bats and a journalist decides her manuscript’s many blank pages are fine because she knows what words belong there. The plot resumes in the final pages; before that there’s rough going. Anybody interested in DeLillo’s work should start elsewhere, maybe with one of the four novels that would justify giving him the Nobel Prize.