The appeal of Don DeLillo’s White Noise derives to a large degree from its sharp and satirical depiction of a postmodern environment and culture.¹ From its concern with Baudrillardian hyperreality and simulacra to its merciless parody of the excesses of consumer capitalism and mass media, the novel offers a wide array of starting points for excursions into the terrain of postmodernity.² Yet, as Jesse Kavadlo has noted, “[i]n the end, DeLillo neither explains, nor tries to explain, postmodernism; nor can postmodernism alone explain DeLillo” (7). I will therefore refrain from questions of epochal and stylistic categorizations and concentrate instead on DeLillo’s evocation of a technologically saturated cultural environment. Critics have noted and commented on the novel’s treatment of diverse postmodern phenomena like television, paranoia, or simulation. However, one concept that is central to the novel’s diegetic world has been widely disregarded: the ‘technological sublime.’ While the notion of the sublime has been predominantly associated with romantic poetry and landscape painting, it is evocative and dynamic enough to be applied to distinctively contemporary phenomena and experiences, as recent scholarly works confirm.³