Now in his mid-seventies, Don DeLillo no longer seems to have the stamina for full-size, fully peopled novels: the lengths of his four twenty-first-century offerings to date together add up to roughly the same number of pages as his polyphonic Nineties masterpiece Underworld, and the average number of characters is markedly down too. 

Only four play a significant part in Point Omega, a skimpy novel (or perhaps novella) bookended by two chapters, ‘Anonymity’ and ‘Anonymity 2’, in which an unnamed male figure watches Douglas Gordon’s slowed-down version of Hitchcock’s Psycho in New York, never leaving the screening room from opening to