According to the Scribner 2010 catalog[1] made available on October 12, 2009, Point Omega concerns the following:
In the middle of a desert "somewhere south of nowhere," to a forlorn house made of metal and clapboard, a secret war advisor has gone in search of space and time. Richard Elster, seventy-three, was a scholar - an outsider - when he was called to a meeting with government war planners. This was prompted by an article he wrote explicating and parsing the word "rendition". They asked Elster to conceptualize their efforts - to form an intellectual framework for their troop deployments, counterinsurgency, orders for rendition. For two years he read their classified documents and attended secret meetings. He was to map the reality these men were trying to create "Bulk and swagger," he called it. He was to conceptualize the war as a haiku. "I wanted a war in three lines..."
At the end of his service, Elster retreats to the desert, where he is joined by a filmmaker intent on documenting his experience. Jim Finley wants to make a one-take film, Elster its single character - "Just a man against a wall."
The two men sit on the deck, drinking and talking. Finley makes the case for his film. Weeks go by. And then Elster's daughter Jessie visits - an "otherworldly" woman from New York - who dramatically alters the dynamic of the story. Jessie is strange and detached but Elster adores her. Elster explains how she is of high intelligence and remarks that she can determine what people are saying in advance of hearing the words by reading lips. Jim is sexually drawn to her but nothing happens except his watching her as a voyeur would. After the most pointed of such behavior Jessie disappears without a trace. There are attempts to find her, and references to a boyfriend or acquaintance possibly named Dennis. Jessie's mother had sent her to the desert to get away from this man.
In his review for Publishers Weekly, Dan Fesperman revealed that the Finley character is "a middle-aged filmmaker who, in the words of his estranged wife, is too serious about art but not serious enough about life" and compares Elster to "a sort of Bush-era Dr. Strangelove without the accent or the comic props".[2] Writing for the Wall Street Journal, Alexandra Altar described the novel as "a meditation on time, extinction, aging and death, subjects that Mr. DeLillo seldom explored in much depth as a younger writer."[3]
