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Fear of death and "white noise"

The major theme of the novel is that death lurks everywhere, especially in
the "white noise" of the modern world -- specifically in the waves and
radiation with which we surround ourselves. The airborne toxic event makes
visible this submerged death, and also heightens Jack's already dominating
fear of death when it infects his bloodstream. DeLillo outlines several
possible solutions to humanity's natural fear of death: by embracing and
confronting it, as Tibetans and other Eastern religions advise; by blocking
fear through "mystical" (since no one understands it) science,
as Babette attempts through the drug Dylar; by using consumerism to deny
it (see below); and by ignoring it, although only Wilder seems able to do this,
whereas in the hands of adults it becomes a weakened form of repression.
We try to face death through crowds, through safety in numbers, but we
must ultimately face death alone.

Simulations replacing reality

DeLillo takes a quintessentially postmodern idea, that simulacra (or
simulations) have replaced reality, and applies it throughout White Noise.
The most obvious example is with the simulated evacuation, SIMUVAC;
although the first run-through is for an actual emergency, SIMUVAC views it
as practice for an actual simulation. In other words, its status as a simulation
takes precedence over its use for a real emergency. On its second, simulated
use, the people behind SIMUVAC continue to worry over its use in simulation,
not in reality. The other major scene involving the dominance of simulacra is
when Jack and Murray visit what signs call "the most photographed barn" in
America. As Murray notes, people pay more attention to the signs than to the
actual barn; they are wrapped in the simulated idea more than in the real
barn. Another instance of simulation versus reality is when the family sees
Babette on TV. At first they are frightened, but soon realize what is
happening; only Wilder, not yet schooled in the way of simulacra, continues
to believe it is really Babette and cries by the TV.

Aura of Authority
In some ways, this is a subset of the simulacra theme (see above). Murray
observes in "the most photographed barn" scene that the observers cannot
escape the "aura" of the barn. The barn assumes this aura of authority that
controls the observers. In the same sense, there is much exploration in White
Noise of how the media controls reality, even to the extent that we ignore
our own senses; the girls consistently feel the symptoms of Nyodene D
exposure only after the radio informs them of what they are. Tabloids also
have the same effect over their listeners, who believe the mystical
authorities of psychics. Before we scoff, DeLillo reminds us that most people
blindly follow scientists the same way, putting faith in the technological

language we cannot understand. Jack also frequently discusses the ways

Hitler, through image-manipulation, could control crowds by sweeping them
up in his aura of authority. Jack, too, tries to create this aura with his own
authoritative academic costume. Ultimately, DeLillo questions to what
extend we have control over our own brains, and to what extent they are
independent chemical processes. The fact that one of Dylar's side effects is
the user confuses language with reality suggests we are, fundamentally,
nothing but these chemical processes, and that a drug can overtakes our
senses and construct reality for us. Of course, this is the main point of Dylar,
to create a new sense of reality by preventing the fear of death. That it fails
in this point suggests that there is something uniquely human about fear of
death that technology and science cannot fully control.

Consumerism as defense against death

From the opening scene of the station wagons arriving at school, DeLillo
explores the American impulse to buy and belong to groups as a means to
ward off death. Jack believes that Hitler unified Nazi Germany in this same
way, by grouping them and making them feel invincible, and we frequently
see frightened people clinging together in groups in the novel (after the
airplane scare, throughout the airborne toxic event). However, consumerism
creates its own death -- it amasses waste, a kind of cultural death -- and
ultimately it leaves people feeling empty, as Jack feels after his shopping
spree. Only someone like Wilder, who grabs at items off the supermarket
shelves, can be fulfilled by consumerism, but DeLillo suggests it only works
for him because he does not have the capacity to speak or think abstractly.

Ambiguity of identity
One of Jack's main quests in the novel is to figure out his identity. He is called
"indistinct" by a colleague, and Jack is honest about his need for Hitler and
his intimidating academic costume to fill out his identity. Murray points out
the obvious idea that Jack uses Hitler as a figure "larger than death" to deal
with his own fear of death. But Murray also wants to use an opposing figure -Elvis Presley -- to complement his own identity. Jack also uses consumerism
at times to complete himself, but these tactics inevitably fail (see above).
Another intriguing idea in White Noise is about the ambiguity of racial
identity in the modern world. Jack frequently wonders what ethnicity people
are, such as Orest, and seems unable to deal with this -- everyone becomes
an "Other" to him, a figure identified by his opposition to Jack. This anxiety
emerges with Mr. Gray (Willie Mink), who torments Jack mostly because he is
a hazy figure in Jack's mind. Since Jack is unclear about his own identity -he's a Mr. Gray himself -- he is further tortured when his antagonist is

Mysterious systems
DeLillo suggests the world is a network of huge systems that no one can
understand, or feel the answer is just beyond them. This is why people
always want to know about UFOs and aliens and believe in conspiracies; it
explains why the shoppers panic when the supermarket shelves are
rearranged, thus changing the system around for them. This tendency is true
especially for Jack, whose wives have all been spies or remarried spies; he
feels they constantly know something he doesn't. He also feels that
scientists and doctors are above him in other ways and communicate to
others through secret languages (note the coded envelope he gets from one
doctor, or the flashing code the SIMUVAC man reads on the computer). In
same way, White Noise can be read as a novel of systems. It has a huge
amount of abstractly stated ideas (mostly from Jack, Murray, and Heinrich,
but several others along the way) that cohere with the novel's structure; it is
up to the reader to navigate these systems and figure them out.

The postmodern American family

DeLillo updates the novelistic family for the nuclear age of the 1980s. He
takes previous conventions of families problems (sexual frustrations, sullen
children) but gives them a subversive twist (the husband and wife debate
who will die first, Heinrich is the smartest member of family and, with his
receding hairline, seems like the oldest at times). The family is also called
the disseminator of misinformation, a fact Murray ascribes to the
advancement of society. Parenthood is also diffused in the Gladney family; no
single child is biologically from both Babette and Jack. Moreover, Jack's status
as a father is often usurped, as when Bob Pardee comes in and takes the kids
out to dinner. The family is brought together by consumerism, a tactic that
usually fails (as when they watch TV together), but DeLillo makes the more
subtle point that at least consumerism tries to bring them together.