I made the choice to read this particular work. The reason being that the odds of DeLillo winning the Nobel Prize skyrocketed just days prior to the award being given. This piqued my curiosity, and I was eager to discover what DeLillo's writing style was like during the early stages of his career. As I delved into the novel, I found that it was enjoyable for a significant portion of the time. The writing was sometimes truly beautiful, with words and phrases that seemed to dance off the page. However, it was also maddeningly uneven. There were parts that held my attention firmly, while others left me feeling rather disinterested. Nearly halfway through the novel, I came to the realization that my interest had waned, and I ultimately put it aside. But perhaps, some day in the future, I will decide to pick it up again and give it another chance.

In the early works of great writers, you search retrospectively to find the elements that foretold their future path, those signs of greatness that make you admire the writing, style, and language that crystallized and perfected later, even from their maiden steps. In Delillo, you don't have to search much.

And if, as they say, in the first book writers try to say it all, in "Americana" we not only encounter an ambitious and self-confident debutant who already sets the bar high with a narrative psychological portrait of a (meta)modern White American Man at the beginning of the decade of doubt (1971), but also wants to depict all the absurdities and fears of the American way of life and the so-called American Dream with a journey within the country, in a desolate (literally and metaphorically) landscape where everyone is hopelessly alone.

David Bell is a successful television executive in the metropolis of New York, handsome, womanizing, and misogynistic. Although he sails comfortably on the surface of a plastic world where advertising is the only cultural product his country has produced, he is dissatisfied. He has studied film and wants to fulfill the artistic ambitions that cannot find an outlet. He thus begins a journey to the Midwest, with the pretext of a television production and the ulterior motive of his own experimental film.

However, when you start a search, it's good to know what you're looking for. And David doesn't know. In the four parts of the book, we will learn (;) with a razor-sharp irony about his past, about the cold relationship with his father, about his dead mother and the Oedipal complex he never overcame, about an artistic vision that remains unfulfilled and nebulous because it reflects his inner void. And at the same time, we will discover a schizophrenic country that cannot reconcile its internal contradictions.

And as this journey into the essence of David's psyche and that of the entire country progresses, Delillo will show from the start why he is one of the pioneers of American postmodernism, with situations that verge on the insane, with a bizarre humor, and with a whole gallery of marginal characters who are looking to find meaning where there is none.

For a first book, all of this is not little.

All over the world, people desire reassurance. It is like the coin they insert into the vending machine of reality. It doesn't matter if something comes out of the vending machine or not, as long as the coin is returned.

America can only be saved by that which seeks to destroy it.

God save the poor fools who are on our side only to end up scattered in fragments everywhere by the good intentions of our bombs.

Inactivity is the prelude to that kind of awareness that leads to the final realization of the futility of any action. This shows the complex and often paradoxical nature of our human experiences and the various perspectives that exist. It makes us think about the true meaning of reassurance, the role of destruction in salvation, the consequences of good intentions gone wrong, and the significance of inactivity and awareness. These statements challenge our conventional thinking and force us to look at things from different angles.

If "On the Road" had been done right, it would have been an absolute masterpiece.

Also, it really reminded me big time of "American Psycho" and somewhat of "Henderson the Rain King". The way the stories unfold and the characters are developed in these works share certain similarities.

I was initially close to giving it a 3 out of 5 rating as it got a little tedious towards the end. However, the writing was just too good to ignore. The author's command of language and the ability to create vivid images and emotions on the page were truly remarkable.

Moreover, the worthwhile passages kept coming till the very last page. Each sentence seemed to have a hidden depth and meaning that made me want to keep reading. In the end, I would rate it as a 3.75 - 4, a solid and engaging read that left a lasting impression on me.

Although this is Delillo's first novel, it is my second encounter with his work.

The book is divided into four distinct parts. The first part serves as a scathing critique of corporate America, highlighting its flaws and excesses. The second part delves into the individual American's yearning to document their reality and turn it into a myth, to exist not in the actual America but in the idealized Americana.

The narrator appears to be perpetually on the verge of uncovering something profound or, in Delillo's characteristic style, something utterly meaningless. Delillo masterfully reflects the existential angst of the postmodern world through his diverse cast of characters, introducing various philosophical annotations as a means to alleviate the pain. Overall, this book is brimming with countless avenues of ideas, thoughts, and moments that could be either profound or meaningless, much like life itself. I rate it four stars because the last section of the book dragged on for a bit.

I am determined to continue exploring his work as I am aware that Delillo expands on some of his ideas in his later novels. I am particularly looking forward to delving into his exploration of advertising in the 21st century.

The novel unfolds right before the amazed and fascinated gaze of the reader. Here, the narrator is seen gradually deconstructing his life and his very identity.

He travels from New York to the Navajo desert, his desert of origins. His daily life, once punctuated by downtime, multiple liaisons, and "ego-moments," now evolves into an existence increasingly outside of normalized, conventional, collective time.

His journey takes him from the pursuit of success, power, and seduction to the inner narrative of his own story and the creative act.

On the road to self-knowledge, which includes the road movie he is filming, David Bell undergoes a metamorphosis in America. He merges with the most primitive fantasies of American society and becomes himself an unexplored continent.

Americana constantly reminds us of the eternal struggle of man against the passage of time, the fear and fascination that death and destruction hold for individuals, and the hypocrisy of a society that promises happiness in 20-second commercials while dropping napalm on Vietnamese civilians (the action is set in the early 1970s, during the Vietnam War).

The poetic power that radiates from each sentence of this book, its numerous digressions that still remain at the border of realism, both cerebral and controlled, yet sometimes "dreamlike" and almost unreal, in my view, place Americana in the lineage of the great novels of Julio Cortazar or Roberto Bolaño (the latter even having one of his characters in "The Savage Detectives" claim that Don Delillo was "the greatest living writer of our time").

I was thinking about something epically wonderful regarding the lives of small American towns.

However, halfway through, a sense of anguish came over me and I had to interrupt the reading.

It's strange how our thoughts can take such unexpected turns. One moment, I'm envisioning the idyllic charm and simplicity of those small towns, imagining the close-knit communities, the local traditions, and the unique stories that unfold within their boundaries.

But then, out of nowhere, this feeling of unease creeps in, disrupting my peaceful reverie.

I wonder what could have triggered this sudden change in my emotions. Maybe it's the realization that even in the seemingly perfect world of small towns, there are hidden struggles and challenges that we may not be aware of.

Or perhaps it's my own subconscious mind bringing up issues and concerns that I haven't fully dealt with.

Whatever the reason, I find myself at a loss, unable to continue reading and fully engage with the topic at hand.

I guess sometimes, our minds have a way of surprising us and leading us down unexpected paths.

It's been an incredibly long time since I last delved into any of DeLillo's works. So, going back and reading his very first book was indeed a rather peculiar experience.

Clearly, I wasn't expecting to encounter something on the grand scale of "Underworld", which, at least in my memory, stands as an astonishingly remarkable book. Instead, I was hoping for something that could rival the excellence of "White Noise". However, for some inexplicable reason, this particular book just didn't quite manage to reach that level for me.

The writing style throughout is consistently of a high standard and in certain places, it ascends to brilliant heights. I absolutely adored the sections that focused on the main character's friend who does talk radio in a complete monologue, in a style that is akin to Tom Waits at his most eccentric.

Where I believe I faced difficulties was in never truly warming up to the central character, David. He seems to progress through the book in a rather detached manner, observing and experiencing various aspects of Americana in all its wild and wacky glory, yet never really forging a genuine connection with it. Then again, perhaps this is precisely the intended point of the book, and I simply missed it as I became embroiled in the story. As he himself says, "Experience is something I'd like to have without going through all the trouble of getting it."

I had expected a little bit more from this. However, the writing is, as always, impeccable.

The words flow seamlessly, creating a vivid and engaging narrative. Each sentence is crafted with precision, drawing the reader in and holding their attention.

The author's attention to detail is remarkable, adding depth and authenticity to the story. Despite my initial anticipation for something more, I cannot deny the quality of the writing.

It is clear that the author has a great deal of skill and talent. Their ability to convey emotions and ideas through words is truly impressive.

Overall, while it may not have met my exact expectations, I still appreciate the excellence of the writing. It serves as a reminder of the power of words and the art of storytelling.

This novel introduces several typical DeLillo ideas. Firstly, it involves a producer of hyperreal fictions who laments the "disturbingly elapsed quality" of existing only on videotape. He reviews schizograms from girls and defines the term as an exercise in diametrics that attempts to unmake meaning. The audience is seen as a fragment of the dark, and there is a belief that the true subject of film is space itself. Secondly, there is a seeming fear of potential ochlocracy, as in the idea that the crowd is essential to the individual in the city. Thirdly, there is a troubled marriage, with the protagonist having to seduce his ex-wife in ways inspired by cinema. We also learn that intensity and suspense are crucial for a successful affair. Additionally, the setting is on the edge of a desert, which ties into another of DeLillo's concerns about the destruction of the landscape in the name of efficiency. There is also semiurgical overload, as in the idea that there is no time for remembering things. The novel also features ad agency losers and explores the role of advertising in creating a universal third person and the production of demand. Overall, it's a complex and thought-provoking work that offers a unique perspective on modern life.

Recommended for those who enjoy DeLillo's style and ideas, as well as for readers who are interested in exploring themes such as hyperreality, ochlocracy, and the role of advertising in society. It may also appeal to those who are looking for a different take on the traditional love story or who are interested in the intersection of art and life. However, it may not be suitable for readers who prefer more straightforward narratives or who are not interested in complex philosophical and theoretical discussions.

I really have no clue as to how I should rate this book. At first, I absolutely hated it. But then, there were moments when I found myself loving it. However, that initial hatred soon resurfaced and I hated it more than before. But, surprisingly, I ended up loving it once again. In fact, I got so frustrated at one point that I threw the book across the room.

There are indeed so many aspects of this book that one could hate. The story might seem convoluted at times, and the characters might not always be likable. But then, amidst all the chaos and muck, you come across lines like, "We are what we remember," or "If you let yourself be what you want to be, physically and spiritually, you can kill a lot of the death inside you." These lines are like shining stars, beautiful and profound, that make you want to keep reading. They give you a glimmer of hope and make you believe that there is more to this book than meets the eye.

So, despite all the hate and frustration, I keep coming back to this book, eager to discover more of those precious lines and see where the story takes me. It's a love-hate relationship that I just can't seem to break free from.

Who could believe that this artistically allegorical writing constitutes the first novel of its kind. The title of the book is accurate, and the entire book pertains to the description of the title. De Lillo描绘了70年代的美国，通过他的描述，我们仿佛看到了当今世界的各种景象。他描绘了大城市中的美国，在那里所有的想法都是金钱、形象和情感的空虚，以及乡村的美国，在那里一切都是武器和极端的保守主义。

His writing style is unique and engaging, drawing the reader in and making them feel as if they are a part of the story. The characters are well-developed and complex, each with their own motives and desires. The plot is intricate and full of twists and turns, keeping the reader on the edge of their seat until the very end.

Overall, this is a remarkable work of literature that offers a fascinating look into the American society of the 70s. It is a must-read for anyone interested in history, sociology, or literature.