Abstract

Don DeLillo has been repeatedly drawn to a frightening scenario in which a man meets a woman at an art venue and proceeds to stalk her. Adopting the structure of repetition-compulsion displayed in these narratives, the present study moves back and forth between “Baader-Meinhof” and subsequent iterations of the art stalker theme in Falling Man, Point Omega, and “The Starveling.” What makes this scenario particularly disturbing are the links DeLillo draws between the subjective virtual effects art has on a spectator and the pathological extensions of those effects into real-world crimes.

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Additional Information

ISSN
1080-658X
Print ISSN
0026-7724
Pages
pp. 138-167
Launched on MUSE
2015-03-30
Open Access
No
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