From the Los Angeles Review of Books, a review of Don DeLillo’s The Angel Esmeralda: Nine Stories, by Cornel Bonca:

The fallen Catholic DeLillo began to find a way to write about certain inescapable promptings of “awe” and “wonder” that were so insistent that they qualified as spiritual intimations. I’d argue that it’s no accident that his greatest stretch of creation followed this shift, a two-decade-long marvel that helped push the American postmodern movement beyond its previous reliance on linguistic gamesmanship, black humor, and recursive irony, as books like White Noise, Libra, Mao II, Underworld, and The Body Artist assured DeLillo a place in the American canon.