© 2016, Universiti Kebangsaan Malaysia Press. This transformation of the concept of the sublime reflects the decline of metanarratives and the exhaustion of possible experiences as the hallmarks of the postmodern era. Situated on a hollow world with an artificial sun inside it. Our analysis shows that in DeLillo’s fiction, White Noise and Cosmopolis, the events and phenomena that transpire to convey a sense of sublimity are almost always interrupted and tarnished by an implication of the grotesque and the ridiculous. Chaos Space Marine forces combine the heavy arms and armour of their loyal kin with an. This paper focuses on DeLillo’s White Noise (1984) and Cosmopolis (2003) by drawing on major theorists of the sublime like Kant, Jameson, Zizek and, most notably, Lyotard, in an attempt to shed light on the modality of the merging of the sublime and the ridiculous. This can be phrased the ridiculous sublime. As such, it has moved ever closer to the realm of the ridiculous to the point where it is rather a question of co-existence and co- implication between them rather than an opposition. Moreover, the multiplicity of prior representations and the exhaustion of the possible have undermined the authenticity and power of the sublime, turning it into pseudo-sublime and mock-sublime. Transformed into what has been termed postmodern sublime-disposing of transcendence in favor of immanence - it is considered to be more of a hollow, confusing and overwhelming phenomenon rather than an elevating and empowering one. The sublime figures significantly in Don DeLillo’s novels.
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