Literature Interpretation Theory, 18: 285–302, 2007

Copyright # Taylor & Francis Group, LLC

ISSN: 1043-6928 print/1545-5866 online
DOI: 10.1080/10436920701708028

CONSUMING AND DYING: MEANING AND THE

MARKETPLACE IN DON DELILLO’S WHITE NOISE

Karen Weekes

The title of Don DeLillo’s book White Noise (1985) is generally inter-
preted using the scientific definition of this term, ‘‘a simultaneous
combination of equally intense but random sound wave frequencies
within a wide band width . . . producing a fairly constant sound with
no pitch at all’’ (Aubry). This reading is definitely supported by the
text and has been expounded upon by many critics. As Tom LeClair
notes, DeLillo himself used the term in this sense in the earlier novel
The Names (1982): ‘‘We take no sense impressions with us, no voices,
none of the windy blast of aircraft on the tarmac, or the white noise
of flight, or the hours of waiting’’ (qtd. in LeClair 208). The scientific
term has paradoxical applications; it is both the background noise
that constantly bombards us and a way for us to avoid that bombard-
ment, as ‘‘white noise machines’’ create ‘‘soothing, useful sounds . . .
to mask the abrasive, disruptive noises produced by certain [other]
machines’’ (Aubry). Thus, the term ‘‘white noise’’ can be used in
either a positive or a pejorative sense, depending on whether it refers
to an unremitting noise one is trying to escape or to the sound
introduced as escape.
Jack’s introduction of sound in order to stave off his preoccu-
pation with death is in keeping with the text’s many associations
of white noise and life. Babette emits ‘‘a creaturely hum’’
(DeLillo 15)1 that is later writ large in the form of the ‘‘human buzz’’
in the mall (84), the ‘‘dull and unlocatable roar’’ in the grocery store
‘‘as of some form of swarming life just outside the range of human
apprehension’’ (36), and ‘‘the kind of low-level rumble that humans

I would like to thank economists Dr. Allen Shiau, Dr. Kathrin Zoeller, and
Dr. Lonnie Golden for their invaluable help in understanding the econometric concepts in
this article.
Karen Weekes is Associate Professor of English at Penn State University, Abington
College. She is the editor of a book of quotations by women (Women Know Everything, 2007)
and the author of numerous scholarly essays on contemporary American literature.
286 K. Weekes

routinely make in large enclosed places’’ heard in the evacuation

barracks (137). Another example of immersion in the prelinguistic
world of human sound is Jack’s response to Wilder’s seven-hour cry-
ing jag. Jack describes Wilder’s lament as ‘‘large and pure’’ and finds
that he does ‘‘not necessarily wish him to stop’’ once he recognizes
that the child ‘‘was crying out, saying nameless things in a way that
touched me with its depth and richness. . . . I began to think he had
disappeared inside this wailing noise and if I could join him in his lost
and suspended place we might together perform some reckless
wonder of intelligibility’’ (78). He also notes the sounds of clothes
tumbling in the dryer, the throbbing of the refrigerator, the radiator’s
chirps—all mundane noises that soothe in their implication that
peaceful domestic life continues.
Frank Lentricchia points out that the first section of the novel is
‘‘all about white noise, actual and metaphoric, that constitutes the
setting of a postmodern life’’ (100), and, indeed, white noise as a
trope is firmly established with the many references to this phenom-
enon in ‘‘Waves and Radiation,’’ recurrences that taper off dramati-
cally as the book progresses. But white noise for Jack is more than
setting: it is a manifestation and an integral element of his existence.
Floating in this wash of inseparable sounds are the isolated words,
phrases, or sentences that ‘‘tell Jack he’s not alone, allowing him to
evade the feared silence’’ (LeClair 230). His ‘‘moment of splendid
transcendence’’ when Steffie chants ‘‘Toyota Celica’’ occurs because
her babble of ‘‘supranational names’’ that are ‘‘more or less
universally pronounceable,’’ meaningless words that are ‘‘part of
every child’s brain noise, the substatic regions too deep to probe’’
(155), joins him to a universal subconscious of mental processes, both
verbal and pre-verbal; he is linked with life.
Many discussions of the title focus on its reflection of modern
advertising and the media. As Leonard Wilcox phrases it, the ‘‘very
notion of ‘white noise’ that is so central to the novel implies a neutral
and reified mediaspeech, but also a surplus of data and an entropic
blanket of information glut which flows from a media-saturated
society’’ (197). This argument is supported by DeLillo’s original
choice to title the novel ‘‘Panasonic’’ until prohibited by Matsushita
Corporation (Keesey 8). That name would indicate both the ubiquity
of sound as well as its corporate associations, given the brand-recog-
nition that the trademark name Panasonic enjoys. DeLillo argued to
his editor that ‘‘‘Panasonic’ as a title is crucial’’ because ‘‘[t]he novel is
filled with the sounds of people’s voices, with sirens, loudspeakers,
bullhorns, kitchen appliances, with radio and TV transmissions, with
references to beams, rays, sound waves, etc.’’ (qtd. in Max 66).
Consuming and Dying 287

According to D. T. Max, DeLillo considered and rejected numerous

other titles before settling on ‘‘White Noise.’’ This title emphasizes
our culture’s saturation in sound, but encompasses other definitions
as well, some of which focus on the physical properties of sound
waves or the random nature of noise.
LeClair explores white noise in musicology (‘‘the sound produced
by all audible sound-wave frequencies sounding together—a term for
complex, simultaneous ordering that represents the ‘both=and’ nature
of systems’’), and says that the working title ‘‘Panasonic’’ ‘‘indicates
DeLillo’s concern with recording the wide range of sound, ordered
and uncertain, positive and negative’’ (230). Timothy Aubry, in his
useful and thorough discussion of ‘‘white noise,’’ says that ‘‘in every-
day speech . . . [d]epending on the context, its scope can include any
background noise that people don’t generally notice, or any back-
ground noise that they wish they didn’t notice, and the term can also
be used to refer to anything—sounds, store displays, gossip—that
people can’t avoid encountering but always try to ignore.’’ Other
critics expand ‘‘white noise’’ into a trope for various semiotic failures,
and the book’s emphasis on language and unstable meanings sup-
ports this reading as well.2
However, when examining a novel that is so obviously filled with
images of and references to the marketplace, we would be remiss to
ignore the thematic implications of ‘‘white noise’’ as a term from eco-
nomics. Econometrics, the empirical research arm of economic
theory, uses the phrase both in a sense similar to one previously
discussed and in a quite different but also strikingly applicable one.
As one glossary identifies it, ‘‘when there is no pattern whatsoever
contained in the data series, it is said to represent white noise. This
is analogous to a series that is completely random’’ (Makridakis
and Wheelwright 641). This emphasis on unpredictability echoes the
scientific definition of the term, which LeClair explains as ‘‘aperiodic
sound with frequencies of random amplitude and random interval—a
term for chaos’’ (230). Randomness in aperiodic sounds and series
suggests the triple refrains occurring in White Noise (‘‘The Airport
Marriott, the Downtown Travelodge, the Sheraton Inn and Confer-
ence Center’’ [15]; ‘‘Krylon, Rust-Oleum, Red Devil’’ [159]) as well
as the fragments of television programs that are scattered throughout.
A second economic definition of ‘‘white noise’’ is equally appli-
cable to this text: a random event that has the potential to cause a
permanent alteration in behavior, but instead results in a temporary
change. For example, the terrorist attacks on September 11, 2001,
were a random shock; the event could have resulted in a long-term
downturn in the U.S. economy, but instead its after-effects stabilized
288 K. Weekes

relatively quickly. This lack of permanent effect makes its fluctua-

tions a form of white noise, and some economists would term the
event itself ‘‘white noise’’ for the same reason. One problem with
white noise, especially of this type, is that it can obscure real changes
in the environment; if several potential influences are occurring at
once (and when are they not?), it can be hard to see the significance
of a real causal agent if it is obscured by too many other factors that
are short-term and relatively insignificant. This misleading feature of
white noise, ironically, actually increases its importance simply
through its capacity to mask or distract from real issues. White Noise
is full of random events, but three fit this model especially well: the
Airborne Toxic Event, Jack’s confrontation with death, and the final
chapter’s reshuffling of items in the supermarket. The question is
whether any of these are random shocks that result in real change
or whether they are all merely forms of white noise.
Randomness is integrated into the book’s form as well as its
content. Periodically, the narrative is interrupted by televised frag-
ments, domestic sounds, or triplets of product names that haunt
Jack’s consciousness. All of these bits of information are data, ran-
domly interspersed into the postmodern world.3 The television in
the Gladney household is apparently tuned to news or public tele-
vision, as every fragment reveals. Early in the book, when Jack is
on his way upstairs to ponder the fleeting nature of life, he hears
the television suggest, ‘‘Let’s sit half-lotus and think about our
spines’’ (18). On another evening, he and Babette are discussing their
choices of erotic literature, and a televised female voice says, ‘‘If it
breaks easily into pieces, it is called shale. When wet, it smells like
clay’’ (28). The family members argue about facts, truths (Is it raining
or not? What do camels store in their humps? Is Babette taking
Dylar?), not popular culture: no one wonders, nor does the television
ever speculate about, who shot J. R. Although the Popular Culture
Studies program is now called ‘‘The Department of American
Environments’’ at the College-on-the-Hill, clearly at least one early-
1980s domestic environ has resisted the banality of ‘‘Cheers’’ and
the hypersexuality of MTV. Jack’s Waveform Dynamics bill charges
him for ‘‘Cable Health, Cable Weather, Cable News, Cable Nature’’
(231). His family’s time together seems relatively commercial-free,
focused almost exclusively on ‘‘factual’’ data, random though these
fragments may be.
However, one cannot escape from advertising even when watching
documentaries and news programs (and the Gladneys do watch the
occasional sitcom on their Friday nights in front of the TV); the text’s
lists of brand names and products illustrate the pervasiveness of
Consuming and Dying 289

marketing, and their presentation in threes resonates with the sacred-

ness of this number in various religions. These trinities suggest that
materialism and commercialism have become a new source of mean-
ing, an idea stated more explicitly when Jack checks his balance at an
ATM and reflects, ‘‘the system had blessed my life. . . . What a pleas-
ing interaction. I sensed that something of deep personal value, but
not money, not that at all, had been authenticated and confirmed. . . .
[W]e were in accord, at least for now. The networks, the circuits, the
streams, the harmonies’’ (46). The Holy Trinity of Christianity
is debunked in favor of the ‘‘existential credit’’ to be gained from
‘‘Mastercard, Visa, American Express’’ (100), and the devaluation
of religion is epitomized in the nun who reveals that she simulates
her beliefs.
Admittedly, in Jack’s world, this simulation is understandable
because there is very little left in which to have faith. Religion has lost
its resonance, the traditional working-class value of the integrity of
labor has become outmoded, and academic pursuits float in an
absurdly value-free theoretical realm—but capitalism and consumer-
ism are on hand to fill the void. Murray says that he ‘‘can’t help being
happy in a town called Blacksmith’’ (11), which is a ‘‘name that
advertises old-fashioned values and country goodness’’ and indicates
that there the Gladneys and Murray are ‘‘protected from the violence
of the inner cities,’’ according to Douglas Keesey (135). Even death in
Blacksmith should be ‘‘nonviolent, small-town, thoughtful’’ (76). The
town seems snug and quotidian, safely dominated by ‘‘dry cleaning
shops and opticians . . . tag sales and yard sales’’ (59), out of the ‘‘path
of history and its contaminations’’ and the corrupting influences of
the city (85). Murray makes this nostalgic leap; he sees cities as ‘‘full
of situations,’’ including sexual imbroglios, and emanating a passio-
nate and dangerous heat that ‘‘rises from the sidewalks and falls from
the poisoned sky’’ (10–11). Urban dangers in the novel exist in Iron
City, including Jack’s confrontation with Willie Mink (significantly,
Jack has to drive into the city in order to attempt murder), the roof-
top sniper with whom Heinrich plays chess, and Babette’s extramari-
tal affair.
However, Blacksmith and its similarly named surrounding villages
are neither domestic idylls nor havens from mortal danger. The first
rumored death in the book occurs in Blacksmith, when a Mylex-
suited worker collapses and dies while investigating the contami-
nation of the elementary school (40), and in the search for the
Treadwells, police instead find a bag containing a gun and two kilos
of heroin (60). Blacksmith residents are evacuated as the Airborne
Toxic Event sweeps over their homes, thus placing the town squarely
290 K. Weekes

in the path of history and its literal contaminations. In nearby

Bakersville, two bodies are found buried in a back yard. Watertown
appears only in a news report featuring a burning sofa and a ten-
ement (97), and in Glassboro, a man dies in a freak single-car acci-
dent, making him the victim of an ‘‘idiosyncrasy’’ of his particular
automobile model (99). Less mortally threatening but more morally
charged is the question of the sanctity of the Gladneys’ marriage,
which seems, as does Blacksmith initially, to be wholesome and
whole. However, despite Jack’s many assertions to the contrary, he
and Babette do not ‘‘tell each other everything,’’ and she increasingly
refuses to be the cheerful, simplistic partner that Jack insists that she
be. Near the end of the novel, after a particularly snide and sophistic
exchange, Jack complains, ‘‘Babette doesn’t speak like this’’ (301). As
Emory Elliott points out, Babette does not sound like herself, she
sounds like Murray–which is just one of the clues that the two may
be having an affair (26–33).
Blacksmith, Bakersville, Watertown, and Glassboro are all town
names that evoke a nostalgic clarity and simplicity yet are as mis-
leading as the Amish beard framing the chin of the wiley, sexual,
complicated Murray Jay Siskind. Farmington is another in this
group, evoking rural plainness as the words ‘‘blacksmith’’ and
‘‘baker’’ do; but Farmington is the site of the ‘‘most photographed
barn in America’’ (12–13), an empty simulacra in a town with a
hyperreal name. The schism between the town names and their reality
makes their lack of innocence all the more poignant; as Murray says,
‘‘it is possible to be homesick for a place even while you are there’’
(257). Just as there is no smithing in Blacksmith, these communities
all evoke an outmoded labor ethic and economic simplicity that no
longer exist either in the city or in the village.
This lack of respect for individual labor is also apparent in the fate
of Vernon Dickey, Babette’s father. His name, ‘‘dickey,’’ can refer to
an article of clothing that was once fashionable but is no longer in
vogue, a false shirtfront or fabric insert that fills in a neckline and
gives only the impression of substance. A man who has always
worked with his hands, which show the effects of this life in their
appearance as ‘‘scarred, busted, notched, permanently seamed with
grease and mud,’’ Vernon now works itinerantly at odd jobs—
shingling, roofing—‘‘I moonlight, except there’s nothing I’m moon-
lighting from. Moonlight is all that’s out there’’ (245). When he
suddenly drops in on the Gladneys and Babette converses with
him, ‘‘the cadences of her speech changed, took on a rural tang. . . .
This was a girl who’d helped her father sand and finish old oak, heave
radiators up from the floorboards’’ in ‘‘his carpenter years’’ (248).
Consuming and Dying 291

Ill and aging, Vernon still seeks to understand ‘‘techniques and

procedures. Sets of special methods’’ (249) in fields where males work
with their hands and bodies, not their brains and computers. He is
not interested in understanding technology or academia, cooking or
housework, but instead waits for ‘‘garbagemen, telephone repairmen,
the mail carrier, the afternoon newsboy’’ and relishes a day spent
watching a road crew ‘‘jackhammer and haul the asphalt, staying
close to them as they leveled the smoking pitch. When the workmen
left, his visit seemed to end, collapsed into its own fading momen-
tum’’ (254–55), reflecting Vernon’s life as well. The road crew’s exit
is followed shortly by Vernon’s own departure; his physical condition
and the disrepair of his car make it unlikely that Babette and Jack will
see him alive again.
Vernon represents a way of life that has passed as well as a gender
stereotype to which Jack may not consciously subscribe but to which
he is still vulnerable. Vernon threatens his son-in-law’s masculine
capabilities, searching out items that need repairing in the Gladney
house and seeing Jack’s ‘‘shakiness in such matters as a sign of some
deeper incompetence or stupidity.’’ This lack brings up the question
of ‘‘what could be more useless’’ than a man who cannot ‘‘fix a drip-
ping faucet,’’ as Vernon valorizes simple items—grouting, washers,
gaskets—‘‘the things that built the world’’ (245). Since Babette
worked with her father in her youth, she knows more about minor
home repairs than Jack (Babette, not Jack, ‘‘caulks the tub and sink’’
[15]), who wonders if Vernon is right in his assessment. Jack’s male
pride is similarly pricked when Vernon gives him a gun, Vernon intro-
duces the gift by asking:

‘‘In your whole life as a man in today’s world, have you ever owned a
firearm?’’
‘‘No,’’ I said.
‘‘I figured. I said to myself here’s the last man in America who
doesn’t own the means to defend himself. . . . It’s a little bitty thing
but it shoots real bullets, which is all a man in your position can
rightly ask of a firearm.’’ (252–53, emphasis added)

Jack begins to see the gun as ‘‘the ultimate device for determining
one’s competence in the world’’ and wonders, ‘‘What does it mean
to a person, beyond his sense of competence and well-being and
personal worth, to carry a lethal weapon, to handle it well, be ready
and willing to use it?’’ (254). Although Jack uses the genderless words
‘‘one’’ and ‘‘person,’’ he uses the masculine singular pronoun ‘‘his’’
292 K. Weekes

and is depicting a stereotypically male sense of ‘‘competence and

well-being and personal worth’’ that would manifest itself in power
and the ability to commit violence. As Jack holds the automatic
and ponders its import, Vernon significantly warns him not to tell
Babette and to keep it out of reach of children, thus emphasizing
the dangerous, masculine aspects of the power that he is conferring.
However, when Jack tries to enact the omnipotent, vengeful role that
his wife, his father-in-law, his colleague, and his culture (seen in the
predictable scripts that he repeats to himself as he breaks in on Willie
Mink) are pressing upon him, he fails completely, both by not execut-
ing his jealous rage upon the agent of his cuckolding and by being
shot himself.
Rather than competence through aggression and other stereotypi-
cal masculine pursuits, an alternative basis for Jack’s sense of self is
his career. Here again, the passing of an economic model favoring
the nobility of the worker and his identification with, and integrity
of, his labor is made clear. Founder and Head of the Department
of Hitler Studies at the prestigious College-on-the-Hill, Jack has
created an impressive persona that would seem to give him substance.
Unfortunately, he knows all too well what a sham this identity,
J. A. K. Gladney, really is, saying, ‘‘I am the false character that
follows the name around’’ (17) and constantly fearing exposure as
a monolingual English-speaker. His power in the classroom, where
he electrifies students with his presentations on Hitler,4 does not pro-
tect his family or himself from the Airborne Toxic Event, despite its
being anomalous, in Jack’s understanding, for catastrophes to strike
middle-class professionals.
With the exception of Winnie Richards, the brilliant but paranoid
scientist, his fellow academics fail to inspire respect. The university
itself is ‘‘trivialized by the nostalgic study of popular and youth
culture’’ (LeClair 209), epitomized by his colleagues who have food
fights in the cafeteria, read nothing more thought-provoking than
tabloids or UFO magazines, and are obsessed with making sense
of and proving mastery over their own pasts rather than any larger
intellectual issue. Murray, the visiting lecturer, is more philosophical
and insightful than the rest of his department, but he participates in
this vacuum in the Department of American Environments, teaching
a course on the car crash in American cinema and attempting
to make Elvis into an entire field of study, as Jack has with
Hitler. The conflation of Elvis and Hitler minimizes the horror
associated with the latter, situating academics in a relativist world
that floats free of values and mores. Hitler majors take Jack’s
‘‘Advanced Nazism’’ course, ‘‘designed to cultivate historical perspective,
Consuming and Dying 293

theoretical rigor and mature insight into the continuing mass appeal
of fascist tyranny, with special emphasis on parades, rallies and uni-
forms’’ (25). At no point is Hitler’s violence or genocide mentioned,
only his image and speeches, making ‘‘Hitler’’ a mere ‘‘signifier in a
code that does not register the moral significance of his name, but
trades him as a commodity on the academic market’’ (Reeve and
Kerridge 307). This lack of critical thinking or contextual consider-
ation transforms academia into a hollow, amoral shell. The college’s
name, resonating with John Winthrop’s assertion of America’s
destiny as a ‘‘city on a hill,’’ juxtaposes the puritanical, intellectual
bent of academia in early America with the secular, dilettantish
attitude that prevails in Jack’s university. Courses, research areas,
even the privileged students’ postures of study in the library are
revealed as just that: postures, ‘‘decorative gestures [that] add
romance’’ (9), but no real meaning, to life. ‘‘American culture, says
DeLillo, remains on its hill, but God’s countenance has been with-
drawn’’ (Cowart 79), leaving another void where faith, or at least
faith in education, once resided.
Religion, rural simplicity, masculinity, and intellectual pursuits are
all inadequate sources for identity and significance. Consumerism, or
economic fulfillment, is the only remaining element that seems able to
lend meaning to Jack’s existence. When Jack is caught without his
academic robe and dark glasses during a trip to the hardware store,
his colleague calls him a ‘‘big, harmless, aging, indistinct sort of
guy’’ (83). Shaken by this encounter, Jack enacts Murray’s dictum
that ‘‘Here we don’t die, we shop’’ (38), and an orgy of consumption
follows. The inevitable consequence of Jack’s aging is negated as he
acts on the other option in the tongue-in-cheek slogan that Don
DeLillo posits for the US in an interview: ‘‘Consume or die.’’ DeLillo
continues, ‘‘Through products and advertising people attain imper-
sonal identity. . . . It’s as if fantasies and dreams could become rea-
lized with the help of the entire consumer imagination that
surrounds us, a form of self-realization through products’’ (Nadotti
93). Indeed, Jack sees himself in a different light after his spree at
the Mid-Village Mall, remarking that ‘‘I filled myself out, found
new aspects of myself, located a person I’d forgotten existed’’ (84).
He discovers the power of discrimination, rejecting some products,
stores, and brands while embracing others; the power of omnipotent
benefaction, buying his family members their Christmas presents
without being ‘‘bothered with tedious details’’ (84); and the power
of consuming simply for the sake of consumption, asserting com-
petence in the marketplace by having available the money to spend
there. He ‘‘trades money for goods. The more money I spent, the less
294 K. Weekes

important it seemed. I was bigger than these sums. . . . These sums in

fact came back to me in the form of existential credit’’ (84).
This credit helps to insulate Jack from both dying and his fear of
dying; as Katherine Hayles points out, ‘‘shopping assures the con-
sumer that material existence will continue’’ (409). Jack’s experience
at the mall also helps him see himself and his existence as part of a
larger community, a personal domestic group and a more general
capitalist culture. Thomas Ferraro explains that Jack ‘‘searches out
his family, both literally and figuratively’’ after his encounter with
his colleague and ‘‘becomes ‘one’ with his family, which in turn
achieves its ‘oneness’ through the activity of shopping’’ (21–22).
Ferraro emphasizes the use of the first-person plural pronouns
throughout Jack’s account of the day-long shopping frenzy, suggest-
ing Jack’s surrender of himself to yet another type of power, the
‘‘communalizing power’’ of commerce, which ‘‘produces what we
might call an aura of connectedness among individuals: an illusion
of kinship, transiently functional but without either sustaining or
restraining power’’ (22, 20). It is the experience of purchasing that
connects Jack with his family, not the specific items he buys. One
could argue that an instrumental manifestation of love for his family
is the locus of meaning in this event, as salient and commendable as
Vernon’s concern for the leaky faucets and safety considerations in
his daughter’s home, but Jack experiences the same fulfillment from
buying things he does not need as he does in preparing for ‘‘distant
contingencies’’ (84). As he admits, ‘‘I shopped for its own sake’’
(84), and this immersion in the power of the dollar and in the
community of fellow consumers restores his sense of personal worth
on more than a merely monetary level.
Jack’s long day at the mall becomes a mock-epic quest to restore
the hero’s sense of competence and nobility. Just as ancient
champions proved their manhood or personal worth in a coliseum,
Jack finds himself in a vast agora, built on a scale that evokes the
Lost Gardens of Babylon and filled with the white noise of an arena
(in an oxymoronic twist, even the background music emphasizes the
fact that people surround him): ‘‘A band played live Muzak. Voices
rose ten stories from the gardens and promenades, a roar that echoed
and swirled through the vast gallery, mixing with noises from the
tiers, with shuffling feet and chiming bells, the hum of escalators,
the sound of people eating, the human buzz of some vivid and happy
transaction’’ (84). By successfully participating in the shopping activi-
ties of his family and the conspicuous consumption of his culture,
Jack restores his equilibrium—lacking his academic gown, Jack
replaces it by spending money, making both a literal and metaphoric
Consuming and Dying 295

‘‘gestur[e] in what I felt was an expansive manner’’ in order to impress

others (84).
Jack’s shopping mania lasts no longer than the sting from his
colleague’s comments: a thoughtless chance encounter results in a
day of spending frenzy, but then Jack seems restored, ready to attend
to his regular concerns and return to his normal level of anxiety.
Other occurrences in the book, such as his exposure to a toxic air-
borne chemical and his confrontation with Willie Mink, force Jack
to face his physical mortality rather than simply wound his ego,
and we might expect that these experiences would modify Jack’s
character in some more lasting way. These events have the potential
to change him, but his apparent resistance to their effects makes these
random shocks also fall into the category of white noise.
The Airborne Toxic Event (ATE) certainly would be expected to
make a permanent change in Jack; exposure to it gives him a prog-
nosis of untimely death, a fate confirmed on a computer printout that
dramatically features ‘‘bracketed numbers with pulsing stars’’ (140).
The ATE is also random; although Blacksmith and its surrounding
villages are not pacific idylls, neither are they toxic waste way-
stations. The cloud that drifts over the Gladneys’ town and eventu-
ally chases its residents out of their homes is caused by an accident
in the Iron City rail yard miles away. Jack’s colleague Alfonse
Stompanato says that ‘‘[o]nly a catastrophe gets our attention’’
(66), and while the ATE is certainly that, it does not compel Jack
for as long as we might think. Initially, he is stunned by his prognosis
and calls himself a man with ‘‘death inside me’’ (150); he wants to
know as much as he can about his condition, making several appoint-
ments and submitting to a barrage of tests to investigate his health.
But by the end of the novel, only a few months after his exposure,
he has settled back into his routine, his death-denial, refusing to
answer his doctor’s phone calls. He defies his doctor not because
he has accepted his state and is choosing to control his own living
and dying, but because, just as at the beginning of the book, he is
afraid: ‘‘[Dr. Chakravarty] wants to insert me once more into the
imaging block. . . . But I am afraid of the imaging block. Afraid of
its magnetic fields, its computerized nuclear pulse. Afraid of what it
knows about me. I am taking no calls’’ (325). This is clearly the same
man who ignores a smoke alarm sounding in his house and who car-
ries a copy of Mein Kampf as his only defense against the grim reaper
in the back yard, a man grasping at the straws of ignorance and
domestic bliss even as death inexorably approaches.
Although Jack dwells on it obsessively and jockeys with Babette
for the position of ‘‘who will die first,’’ death is the ultimate random
296 K. Weekes

event. No matter how much Jack worries, he cannot control its tim-
ing. Despite his having been exposed to Nyodene D. (a chemical
whose name is an anagram of ‘‘deny one D.,’’ indicating Jack’s ulti-
mate denial of his exposure and resultant risk of death), his death is
no more certain than it had been, considering that the chemical has
a life of thirty years, Jack is already fifty, and the lifespan for an
American white male in 1985 was approximately 73 (Moody). Even
Jack’s attempt to become a ‘‘killer,’’ and thus minimize his chances
of being a ‘‘dier’’ in Murray’s false dichotomy, fails to dictate the tim-
ing of death. Instead of marking ‘‘his difference from those who die,
[the shooting] ends by establishing his connection to mortality’’
(Hayles 412). Mr. Gray, the ‘‘staticky man’’ (296) who symbolizes
the fear of death, cannot be obliterated as easily as that.
Death is not only the ultimate random event, it is the ultimate
white noise as well. Fear of death forms the backdrop for all of Jack’s
activities, and his peculiar choice of career figure especially reflects his
obsession with death. As DeLillo explains,

The damage caused by Hitler was so enormous that Gladney feels

he can disappear inside it and that his own puny dread will be
overwhelmed by the vastness, the monstrosity of Hitler himself. He
feels that Hitler is not only bigger than life, as we say of many famous
figures, but bigger than death. Our sense of fear–we avoid it because
we feel it so deeply, so there is an intense conflict at work. . . . I think it
is something we all feel, something we almost never talk about, some-
thing that is almost there. (qtd. in DeCurtis 301)

Jack benefits from his immersion in Hitler in scenes such as the after-
math of his lecture on Hitler=Elvis and the approving crowd’s swell.
Jack says, ‘‘Not that I needed a crowd around me now. Least of all
now. Death was strictly a professional matter here. I was comfortable
with it, I was on top of it’’ (74). This feeling of control over death is in
stark contrast to his usual response, exemplified in the death sweat
that grips him early in the novel and causes him to describe himself
as ‘‘[d]efenseless against my own racking fears’’ (47).
The Zumwalt automatic that Vernon gives him as a literal defense
signifies Jack’s respect for other German elements; Jack ‘‘associates
German culture with order and control, the ability to keep death at
bay with organization and discipline’’ (Muirhead). Thus, Jack named
his son Heinrich, ‘‘a forceful name, a strong name’’ with ‘‘a kind of
authority’’ (63), is reassured by the appearance of German shepherds
in the wake of the Airborne Toxic Event, and notes that his firearm is
Consuming and Dying 297

‘‘German made’’ (254). As Jack explains, ‘‘There’s something about

German names, the German language, German things. I don’t know
what it is exactly. It’s just there. In the middle of it all is Hitler, of
course’’ (63). Not surprisingly, Jack’s confrontation with Willie Mink
takes place in an area of Iron City called Germantown, an appropri-
ate site for facing down death. The nuns who capably handle both his
and Mink’s profusely bleeding wounds are German as well, and their
pragmatism is in keeping with Jack’s perception of German efficiency
and competence.
Ironically enough, just as a white noise machine provides a steady
drone that ultimately overpowers other random sounds of white
noise, Jack’s awareness of death is the constant white noise that fills
all the spaces between and around the interjections of the living
world. This, ‘‘contemporary man’s deepest expression of his death
fear, a strange and genuinely awe-inspiring response to the fear of
mortality in the postmodern world’’ (Bonca 458), consumes his
thoughts. ‘‘Who will die first?’’ is a question repeated through the
text, as haunting and pervasive as the triplets of brand names and
television excerpts. The first mention of white noise in the novel is
the sound of traffic from the expressway beyond the Gladney home:
‘‘a remote and steady murmur around our sleep, as of dead souls
babbling at the edge of a dream’’ (4). Death constantly babbles at
the edge of Jack’s dreams and his waking; the only time he seems
to be free of it is in the Blacksmith cemetery, set far above the high-
way and industrial noises of the town below, in ‘‘a silence that had
stood its ground’’ (97). When he confronts death directly, both the
white noise of life and the constant bass of his death-fear are stilled,
but only temporarily.
This brief suspension of sound also occurs when, upon entering
Mink’s room, he notes that Mink is watching TV with the volume
off; but he gradually becomes aware of ‘‘a noise, faint, monotonous,
white’’ (306)—not the hum of life described earlier, but a solid,
electronic drone. This inescapable sound is the thrum and tenor of
death, which intensifies as Jack and his Zumwalt pursue Mink into
the bathroom; Jack notes that ‘‘[t]he intensity of the noise in the room
was the same at all frequencies. Sound all around’’ (312). Mink cow-
ers in terror, a scene epitomizing white noise both visually and
aurally: ‘‘His face appeared at the end of the white room, a white
buzz, the inner surface of a sphere. . . . His fear was beautiful’’ (312).
White noise is thus both the comforting sounds of human life at
the same time as it is a more sinister undertow of death. The white
noise of family, shopping, even television and advertising, is a distrac-
tion from the ugly undercurrent of mortality and fear. DeLillo calls
298 K. Weekes

this undertow ‘‘the extraordinary dread . . . the death fear we try

to keep beneath the surface of our perceptions’’ (DeCurtis 301),
manifested in Jack’s commentary: ‘‘How strange it is. We have these
deep terrible lingering fears about ourselves and the people we love. . . .
The feelings are deep and real. Shouldn’t they paralyze us? How is it we
can survive them, at least for a while?. . . How is it no one sees how
deeply afraid we were, last night, this morning?’’ In what would seem
to be a non sequitur, Babette responds, ‘‘What if death is nothing but
sound?’’ But Jack understands her and knows that she understands
him and this obsessive undercurrent. He describes the sound as ‘‘Elec-
trical noise. . . . Uniform, white’’ (198), a metaphor for the continual,
nearly inescapable bombardment.
Also, from an econometric standpoint, death, or at least the fear of
it, is the epitome of white noise. Although experiencing one’s own
death would obviously be irreversible, confrontations with death,
either in the form of the Airborne Toxic Event or the attack on Mink,
do not seem to have any long-term effect on Jack. Laura Barrett
posits that ‘‘his near-death experience allows him to move beyond
his paralyzing fear of death’’ (111), but I would argue that Jack
and Babette end up basically unchanged from their status at the
beginning of the novel. According to Barrett, the couple develops
negative capability and, thus, a capacity for living with uncertainties
and doubts, mirroring ‘‘the advice Jack gives earlier in the novel’’
after visiting the cemetery, ‘‘May the days be aimless. Let the seasons
drift. Do not advance the action according to a plan’’ (98; Barrett
111). However, this is advice given before the ATE, the revelation
of Babette’s infidelity, or the near-murder of Mink. Jack’s avoidance
of a ‘‘plan’’ (in keeping with his statement that ‘‘[a]ll plots tend to
move deathward’’ [26]) keeps him from confronting his own mortality
both before and after these cataclysms. His refusal to face his doctor
and his burying himself in relative domestic safety are consonant with
his behavior at the beginning of the novel. In fact, by the final
chapter, the family unit depicted has shrunk to ‘‘Babette, Wilder,
and I,’’ who enjoy the suspiciously beautiful sunsets. Wilder’s six-hour
crying incident is a primal outburst of existential angst, a fear and
longing felt universally, that subsides into a wordless acquiescence
(several mentions are made of Wilder’s unusually limited vocabulary
and general silence) mirroring Jack’s denial and repression after his
violent but essentially impotent confrontation with death.
The book concludes with one last scene in the grocery store, where
the items have been mysteriously and confusingly reshuffled on the
shelves. Barrett points out that this episode brings the novel ‘‘full cir-
cle,’’ with the supermarket patrons replacing the parents in station
Consuming and Dying 299

wagons at the novel’s outset, the holographic scanners’ ‘‘waves and

radiation, or how the dead speak to the living [326]’’ reflecting the
‘‘dead souls babbling at the edge of a dream [4]’’ (111). This circu-
larity is significant in theme as well as structure. The customers’ reac-
tions to this reorganization show their shock: words describing their
experience include ‘‘agitation,’’ ‘‘panic,’’ ‘‘dismay,’’ ‘‘fragmented
trance,’’ ‘‘frozen,’’ ‘‘anxious,’’ ‘‘haunted,’’ and ‘‘betrayal’’ (325–26).
If the supermarket has been a trope for existence throughout, includ-
ing the ‘‘ambient roar’’ of this final scene, then the confusion of life is
mirrored by the confusion on the shelves, and the customers’ shock
but ultimate acceptance reflects our adjustment to the unpredictabil-
ity and sudden difficulties of life. Good grooming is no protection
from life’s disasters (326), any more than were Jack’s class status,
profession, or preoccupation with Hitler. Every grocery category
has been moved except the generic foods—thus, the only reliable
source of order or meaning is in the simple, predictable, and generally
unexciting features of living: children, family, the quotidian. DeLillo
has said that his work exhibits ‘‘a sense of the importance of daily life
and ordinary moments. In White Noise, in particular, I tried to find a
kind of radiance in dailiness’’ (DeCurtis 301). The potential for dis-
covering this transcendence is here in the supermarket, but customers
are distracted by the packages, the labels, and the tabloids, which
provide ‘‘everything we need that is not food or love’’ (326). DeLillo
sets the ‘‘desperation and loneliness’’ of the individual ‘‘against
the backdrop of brightly colored packages and products and con-
sumer happiness and every promise that American life makes day
by day and minute by minute everywhere we go’’ (qtd. in DeCurtis
295–96).
This clean, well-lighted promise of abundance—American life,
American supermarkets—consoles both Jack and Murray on various
occasions. Jack never shops alone; he and Babette want children not
just in their home but in their grocery shopping, their ur-lives. The
supermarket is a place of holding hands with Steffie, nuzzling
Babette, meeting neighbors, losing Wilder, sharing confidences. It
provides community. When Murray hears of his colleague Cotsakis’s
death, he tells Jack, ‘‘I found out an hour ago. Came right here’’ to
the generic food aisle of the store (168).
If the supermarket symbolizes life, with all its entangled com-
munity and consumerism, finishing our shopping and queueing at
the registers represents death: customers fill their carts with products,
heeding or ignoring warning labels and expiration dates, and make
their way to the checkout counters. Whether the shopping trip is con-
fused or ordered, ‘‘the plain and heartless fact of their decline’’ is an
300 K. Weekes

unavoidable constant as shoppers ‘‘work their way’’ toward the exit:

‘‘But in the end it doesn’t matter what they see or think they see. The
terminals are equipped with holographic scanners, which decode the
binary secret of every item, infallibly. . . . And this is where we wait
together, regardless of age, our carts stocked with brightly colored
goods’’ (326). Thus, we are a sum of all we have bought; our lives
are measured and costs totalled by what is in our existential cart at
the end. Rather than DeLillo’s suggested axiom of ‘‘Consume or
die,’’ White Noise argues that we consume and die. Confronting death
is a random shock that subsides into mere white noise, as our lives
adjust. Our shopping may be temporarily confused, but it continues;
we work our way up and down the aisles and toward the culminating
registers, while the ‘‘ambient roar’’—the background noise of both
living and dying—rumbles on.

NOTES

1. DeLillo, Don. White Noise. 1985. Viking Critical Edition. Ed.

Mark Osteen (New York: Penguin, 1998). All subsequent page
references are to this text.
2. See Arthur Saltzman, ‘‘The Figure in the Static: White Noise,’’ in
White Noise: Text and Criticism, Ed. Mark Osteen (New York:
Penguin, 1998), 480–97, and Cornel Bonca, ‘‘Don DeLillo’s White
Noise: The Natural Language of the Species,’’ in White Noise: Text
and Criticism, Ed. Mark Osteen (New York: Penguin, 1998),
456–79.
3. Some critics would argue that the specific placement of these lists
within the novel is anything but random. For example, John Frow
suggests that the triplet at the end of ‘‘I watched light climb into
the rounded summits of high-altitude clouds. Clorets, Velamints,
Freedent’’ is ‘‘not just the phonetic [movement] from clouds
(perhaps ‘cloud turrets’) to Clorets but is also a circuit between
the novel’s imagery of sunsets and the poetry of advertising’’
(‘‘The Last Things Before the Last: Notes on White Noise,’’ White
Noise: Text and Criticism, Ed. Mark Osteen [New York: Penguin,
1998], 428). John N. DuVall further argues for a narrative of sorts
within the white noise itself; for example, ‘‘MasterCard, Visa,
American Express’’ represents Jack’s struggle for a ‘‘mastery’’
over death that he’ll accomplish through an exit ‘‘visa’’ that will
then transport him on ‘‘the American Express’’ (‘‘The [Super]Mar-
ketplace of Images: Television as Unmediated Mediation in DeLil-
lo’s White Noise,’’ White Noise: Text and Criticism, Ed. Mark
Osteen [New York: Penguin, 1998], 440). Many of these triplets
Consuming and Dying 301

and other interjections require equally tortured explications in

order to give them contextual coherence.
4. As Douglas Keesey notes, Jack’s ‘‘[c]lasses in ‘Advanced Nazism’
accustom students to murder and death. . . . These classes them-
selves serve to advance Nazism insofar as they encourage students
to respond adoringly to Jack’s lectures as if he were Hitler giving a
fatally hypnotic speech at a mass rally’’ (Don DeLillo [New York
City: Twayne Publishers, 1993], 134).

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