![]() ![]() “I wanted a war in three lines…”).įinley is pushing Elster to agree to make a documentary in the vein of Errol Morris’s “Fog of War,” in which Bob McNamara confessed his Vietnam. ![]() The midsection, the narrative meat, covers the repartee between Finley and enigmatic Elster, who is DeLillo’s hybrid Paul Wolfowitz-Robert McNamara-Rand Corporation “defense intellectual” (“I wanted a Haiku war…” says Elster. The book’s centerpiece conceit, its opening and ending, is Finley’s impression of “24-Hour Psycho,” a big-screen, slowed-down version of the Hitchcock classic hosted as a conceptual art piece at the New York Museum of Modern Art in 2006. ![]() N DeLillo’s contrived “Point Omega,” a minimalist rumination on the outlines of intelligence and reality, an aging intellectual-cum-Pentagon-advisor named Richard Elster escapes Iraq War Washington for the California desert (a “spiritual retreat”), where he’s joined first by a young would-be filmmaker-biographer Jim Finley, the narrator, and later by his daughter Jessie, who inexplicably vanishes. ![]()
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