Although the sociological and cultural landscape of White Noise is located fundamentally in a postmodern world, the Blacksmith town exists on a space amid modernism and postmodernism. Various scholars have explored Don Delillo’s novel, White Noise to analyse its postmodernism theme. The researchers have unveiled three major arguments to support the presented argument. I acknowledge that postmodernism is directly related to the power of imagery and appearance, technological advancement, and the vision of what has changed over time. In light of the presented argument, it is apparent that time is the most influential factor which determines the rate at which an individual embraces the aspects of postmodernism. Therefore, one must have a proper understanding of how to change their behaviour in order to fit within the new dogma of postmodernity. In White Noise, Jack had to take several steps back to fit within the postmodernism era rather than exist at the divide of modernity and postmodernism. Apparently, people from different dogmas will always behave differently in that those who believe in modernism are considered to be objective while those in the postmodernism era are subjective in nature.
White Noise and Postmodernism
The Blacksmith town is the city which the Gladneys refer to as home. Technological intrusion is the factor which marks the close of modernism period and the beginning of postmodernism. In the town of Blacksmith, Jack provides it definition when he indicates that, “Babette and I and our children live at the end of a quiet street in what was once a wooded area with deep ravines” (Delillo 4). At the identified moment, technology has change the town’s historical and physical landscape in a way which suggests advancement and progress, thus defining the aspect of postmodernism. The tension between modernism and postmodernism noted in Blacksmith is evident in Old Man Treadwell. Apparently, Treadwell symbolizes the historic nature of the town as well as its modernity. The presented factor is evident in novel as Babette also read tabloids to Treadwell on a weekly basis. Tabloids are utilised to represent postmodern certainty of information. Through Babette, Treadwell is provided with a chance of accessing the new world through the new language of information. Having an understanding of the transformation that Blacksmith went through advancing from what seemed to be a pastoral town to what is considered as a modern city with various homes and city malls, technological advancement is vital since it aids in understanding the historical sense of self of Jack. Additionally, it also prompts an understanding of the extension which the town that Jack has been residing has been undergoing for the past two decades to achieve post modernism. Tension is an important aspect which is missing from the postmodern readings as evident in the case of White Noise (Wiese 1). The outlined aspect sets the theoretical and narrative aspects of the text to provide a lived experience.
Postmodernism involves different aspects such as technological advancement (Mathur 12). The presented form of postmodern writing provides a definition of the present culture and difficulties evident in the Don Delillo’s White Noise. The basic focus of the novel is criticizing the society (Caton 38). The author has played a significant role in portraying a family whose lives revolves around technology and the fact that they dread death. Jack Gladney is a university professor who specializes in Hitler studies. Babette, Jack’s wife, and his children are infatuated with consumerism. Delillo constantly portrays them purchasing excess food to enforce the presented factor. Delillo indicates that, “When times are bad, people feel compelled to overeat…They struggle to emerge from compact cars; they don sweatsuits and run in families across the landscape; they walk down the street with food in their faces; they eat in stores, cars, parking lots, on bus lines and movie lines…” (Delillo 14). The presented statement outlines the features common to the Gladney’s family, with Babette being brought out as an overweight character despite her efforts in intense exercising. Postmodernist literature is composed of a broad range of ideas and concepts which involves aspects such as responses to the ideas of modernism and that of technological advances as well as a greater cultural diversity which results to cultural pluralism. Three postmodern themes are evident in Delillo’s White Noise which spans throughout the novel. The strength of imagery and appearances, the consumerism pervasiveness, and the palpable and elusive existence of death in the world are evident in the presented work, clearly outlining the aspect of postmodernism (Barrett 94).
Jack, similar to Blacksmith, is also brought out as a character within White Noise who exists between the cultural divide defining modernism and post modernism. The presented character indicates a high level of acute awareness of the immutable and the eternal. The presented aspects outline the greater forces at work which are evident away from the sphere of existence. Additionally, it is apparent that Jack is also greatly obsessed with the object rather than the subject. The presented factor focuses on revealing that Jack’s has his sense of identity on the product of consumerist goods and behaviours (Jandl 433). After Wilder stops crying after seven hours, Jack indicates that “It was as though he'd just returned from a period of wandering in some remote and holy place, a place where things are said, sights are seen of the most sublime and difficult dimensions" (Delillo 79). At this point, Jack acknowledges that some interpersonal realisms exist which further indicates his modern sentiments provided that one fundamental classification of modernism is the power it provides an individual to reshape, improve or create the environment. Taking into consideration the case of the Airborne Toxic Event, it is apparent that Jack unveils the description of the sight of the chemical plume as a gigantic dark figure which "moved like some death ship in a Norse legend" (Delillo 127). Afterwards, when conversing with Babette, Jack indicates that “When she shovelled snow, she wore a furry headband, it made me think of the fifth century A.D. men standing around campfires speaking in subdued tone in their Turkic and Mongol dialects" (Delillo 171). In the outlined examples, Jack is embracing a modernistic value which guides him to look into the past to understand what the present is about. The presented aspect suggests that Jack is aware of the fact that life is composed of images, occurrences and situations which define it existed differently in the past before his time. The presented idea contradicts the sense of place and time which is related to postmodernism. Despite this, Jack’s notion of being a strict modernist is complicated in the novel by his addition to goods and objects.
Looking at the instance where Jack and Babette bump into Murray at the shopping center, Jack starts listing the items which Murray has in his basket. Jack mentions "generic food and drink, nonbrand items, white packaging, and simple labeling" (Delillo 18). The manner in which he is fixed on the items purchased by Murray suggests his sense of identity which is enclosed within a matrix of material products, and as a result, he seeks to find clues about Murray’s identity. In this case, Jack seeks to establish Murray’s character based on the goods he prefers. Jack is informed of the shallowness which defines his identity and that of everyone else. The presented aspect is evident as Jack indicates that “I am the false character that follows [my] name around" (Delillo 17). Despite this, Jack is still not able to isolate himself from the element of consumerism. The presented obsession from a greater perspective is as a result of Jack’s struggle and great desire to take part in the emerging postmodern environment in the world.
Jack’ modernist sensibilities is also outlined in the character’s ability to understand that certainty is a subjective element. Therefore, the presented aspect should be critically examined and questioned. In White Noise, horoscopes are considered as a medium of absolute certainty. Relating this to the case of a postmodern world, Delillo outlines a scene whereby Babette is reading out loud horoscopes to the members of the family. At this instance, Jack is lost in self thought whereby he thinks that what if "I tried not to listen when she got to mine" (Delillo 18). The presented statement implies that Jack does not concern himself with insignificant details which has gained a fundamental basis and meaning in the new postmodern world. Despite the fact that other characters such as Heinrich have grown up in a location that is hermetically enclosed, composed majorly of mass-media and technological influences, they are still in a position to understand the factors which constitutes postmodernism in a world around them. Having the presented factor in mind, Heinrich is rebellious of the modernism notion. The presented factor is evident at the point where Jack and his family were watching the sunset before the Airborne Toxic Event. Evidently, Jack provides that "Only Heinrich stayed away. He believed there was something ominous in the modern sunset" (Delillo 61). Jack understands the disconnect that exists between him and his son, having in mind that Heinrich was born into the postmodern world unlike him who still values the element of modernity. Despite the fact that his statement may be understood to suggest an attempt of father and son connection, Jack made several shots to communicate with Heinrich within the novel. The outlined factor acts as a miniature to Jack’s effort to interconnect in the new cultural framework of postmodernism (Schouten 14). While communicating with Heinrich about the weather, the two go back and forth to establish if it is currently raining. The conversation ends with Jack taking a subjective position on the matter when he directs Heinrich to take a glance at the windshield and report back if it was raining or not. On the other hand, Heinrich takes an objective position suggesting that he is only outlining what the radio reporter said. The presented conversation drives the two at the bottom of Heinrich’s postmodern dogma. Despite this, it is still evident that Jack is determined to trick his son into embracing his point of view. He seeks to achieve the presented factor by outlining a situation whereby a gun man demands to obtain the truth. At this instance, Heinrich replies by seeking to establish the truth needed by the gun man. The conversation that comes afterwards revolves around the notion of relativity and language in relation to reality or truth. The presented text conveys a message that the mass-media obtains its strength in the postmodern world by being familiar to a person’s immediate quest for knowledge (Isaacson 29). Heinrich fails to provide the information that Jack continually seeks to obtain from him. As a result, tension mounts in the process suggesting the large barrier noted between Jack and his son as well as between him and the new environment defined by postmodernism.
Technology plays a vital role in the novel since it is a founding factor of what describes the postmodern feature in the novel. The author has played a fundamental role in outlining the obsession that the Gladney’s family has to technology and the effect it has on their lives. The presented factor is evident at the instance when Jack is at the bank describing the interesting nature of the automated teller machine. At this instance, Jack indicates that, “The system had blessed my life. I felt its support and approval. The system hardware, the mainframe sitting in a locked room in some distant city…but we were in accord, at least for now. The networks, the circuits, the streams, the harmonies” (Delillo 46). The presented obsession is fully postmodern in that the way Jack is obsessed with the machine personifies it. In White Noise, technology is considered to work in various ways. For instance, Delillo brings out the characters as obsessed with the idea of its existence or dismayed by its threatening face. After the occurrence of an airborne toxic event due to the accumulation of dangerous chemicals cloud, every person is terrified after imagining the destruction it is likely to bring about without defence.
In the later chapters of the novel, it is evident that Jack recognizes the attraction of being objective and the materialized aspect of identity. The presented factor suggests that Jack finds it difficult to fully participate in the postmodern world. Unlike other characters in the novel, Jack is considered to be sensitive to friction existing between the modernism and post modernism worlds. However, he still directs his efforts towards embracing the motives of the postmodern man to ensure that he fits within the collective social network. The presented factor is evident as Jack points out that "to become a crowd is to keep out death. To break off from the crowd is to risk death as an individual, to face dying alone" (Delillo 73). Additionally, the character continually queries the role of the newly established social ideology in relation to knowledge, truth, simulation and certainty. The presented aspect is observed in the manner in which Jack interacts with SIMUVAC staffs. At this point, he queries the benefits attached to simulations other than subjective reality. However, with time, his desire to move away from the postmodernism understanding and exist within it while observing his modernist awareness. During this time, he interacts with his father in law, Vernon Dickey, who makes it difficult for him to be submissive affiliate of the postmodern culture.
Drawing from the notion than a person has the ability to establish, enhance and reshape the environment with an aim of making something new, the old has to be dropped, disassembled or destroyed. Delillo brings out Vernon’s character as one who contrasts that of Jack in relation to the issue of postmodernism. Apparently, Vernon continuously embodies the modernism concept. The presented aspect is evident when he states that he is "shingling here, rustproofing there." Additionally, Jack provides that his hands are "scarred, busted, notched and permanently seamed with grease and mud." Furthermore, his attention is fixed on "trying to spot something that needed replacing or repair" (Delillo 245). Vernon is also brought out as a character who is in control of the environment that he resides in. The presented aspect is common since the outlined character recognizes that a difference exists between him and the postmodern world which has newly been incorporated into his environment. The outlined aspect is evident when Vernon asks Jack "were people this stupid before television?" (Delillo 249). Despite the fact that Jack share in the same sentiment, his desire to take part in the postmodern world isolates him from Vernon as well as from modernism.
Also, on creative destruction, Vernon also contradicts Jack in that he does not have fear of death. Delillo shows that Vernon undertakes a sardonic pleasure in his chronic coughs and other aspects which suggests that he is progressing towards death. During the outlined instance, Jack acknowledges that his past notion of existing within postmodernity as a passive modernism cannot be achieved. The presented aspect is evident in that Vernon fails to embrace his self-reflected image when faced with modernism. The identified realization drives him to a point where he makes the decision to become what Murray terms as a “killer” and not a “dier”. The presented aspect suggests that an individual who is an actor in the world refuses to become an object in the postmodern world. Jack has maintained his capacity to inspect and examine despite dropping his modernism nature. As a result, he has managed to make a decision for himself on the right path to undertake which is acceptable in the postmodern world. Due to this functionality, Jack manages to become the subject during the climatic encounter with Mink. As a result, he heads to the Iron City with a major aim of taking Willie’s life. The noted encounter with Willie Mink provides an indication into the physical embodiment of the post-modernism factor. Despite this, Jack’s interaction with Willie undermines his desire to overcome postmodernism based on the fact that Willie’s objectivity seems to be too strong.
Considering the case of Willie wearing the Budweiser shorts, it is clear that the character’s physical personification suggests postmodernism. The presented aspect is further stressed at the point where Willie states TV phrases and indecipherable riddles outlining that "some of these sure-footed bighorns have been equipped with radio transmitters" (Delillo 306) as well as "the pet under stress may need a prescription diet" (Delillo 307). Similar to the description of the “diers” as presented by Murray, Willie makes a significant effort to embrace Jack’s communication. The element of postmodernism, knowledge and technology have proven to be highly powerful in measuring and overcoming the common standard of reason, logic and discernment. The element of postmodernism which existed within the motel room and Willie Mink begun consuming Jack. The presented aspect is evident as Jack provides that "things began to glow, the air was rich with extrasensory material, [Willie] appeared to grow more vivid things in their actual state, white noise everywhere" (Delillo 309-310). Despite being frightened, Jack establishes his plan to take Willie’s life with an aim of becoming subjective and authentic in order to be recognized in the postmodern world. Despite this, Willie and his strong notion of postmodernity hinders Jack’s plans from prospering in that he literally absorbs the gunshots. Jack becomes highly disappointed and frustrated when faced with the predictability of overpowering Willie. Subsequently, he recognizes the fundamental impossibility of closing the gap between the object and the subject as well as between himself and the postmodern world. The presented situation drives Jack to see the world for what it really is. That is, "The extra dimensions, the super perceptions, were reduced to visual clutter, a whirling miscellany, meaningless" (Delillo 313).
Conclusion
Towards the end of the novel, Jack embraces the fact that one must learn how to take a step back in order to survive the cultural aspects associated with modernism and postmodernism. Implementing the outlined action drives one to understand the rationality which contributed towards the presented aspects to begin with. When an individual resides in a realm outside the outlined movements, such as Jack towards the end of the novel, the desirable benefits of life are revealed in the forces which drive our existence.
Works Cited
Barrett, Laura. "'How the Dead Speak to the Living ': Intertextuality and the Postmodern Sublime in White Noise." Journal of Modern Literature, vol. 25, no. 2, Winter2001/2002, p. 97.
Caton, Lou F. "Romanticism and the Postmodern Novel: Three Scenes from Don Delillo's White Noise." English Language Notes, vol. 35, no. 1, Sept. 1997, p. 38.
Delillo, Don. White Noise. New York: Penguin Group, 1998. Print.
Isaacson, Johanna. "Postmodern Wastelands: Underworld and the Productive Failures of Periodization." Criticism, vol. 54, no. 1, Winter2012, pp. 29-58.
Jandl, Nathan. "Sustainable Affect: The Social Dimensions of Environmental Attachment in Delillo's White Noise." Modern Philology, vol. 114, no. 2, Nov. 2016, pp. 433-455.
Mathur, Nita. Consumer Culture, Modernity and Identity. Sage Publications Pvt. Ltd, 2014.
Schouten, John W. Consumer Culture Theory. Emerald Group Publishing Limited, 2014.
Wiese, Annjeanette. "Rethinking Postmodern Narrativity: Narrative Construction and Identity Formation in Don Delillo's "White Noise.." College Literature, vol. 39, no. 3, Summer2012, pp. 1-25.
