- All's Well That Ends Well
- Antony and Cleopatra
- As You Like It
- The Comedy of Errors
- Coriolanus
- Cymbeline
- Hamlet
- Henry IV, Part 1
- Henry IV, Part 2
- Henry V
- Henry VI, Part 1
- Henry VI, Part 2
- Henry VI, Part 3
- Henry VIII
- Julius Caesar
- King John
- King Lear
- Love's Labor's Lost
- A Lover's Complaint
- Macbeth
- Measure for Measure
- The Merchant of Venice
- The Merry Wives of Windsor
- A Midsummer Night's Dream
- Much Ado About Nothing
- Othello
- Pericles
- The Rape of Lucrece
- Richard II
- Richard III
- Romeo and Juliet
- Shakespeare's Sonnets
- The Taming of the Shrew
- The Tempest
- Timon of Athens
- Titus Andronicus
- Troilus and Cressida
- Twelfth Night
- The Two Gentlemen of Verona
- Venus and Adonis
- The Winter's Tale
Jack thinks this while Denise and he are talking about Babette’s mysterious use of Dylar. This is, of course, a meta-fictional statement, since Jack himself exists in a novel and is part of a plot. As such, DeLillo slyly comments on the very process he uses to shape White Noise’s narrative, lightly making fun of the novelist’s tendency to see “plot potentials” in even the smallest, most everyday things. This sort of meta-commentary is characteristic of postmodern fiction, which as a genre is self-conscious and eager to transcend the rigid narrative rules put in place by past literary movements…