Don DeLillo, this chapter argues, has created innovative narratives from the typecast materials of popular genre fiction. It demonstrates that genre novels and films, from spy thrillers and noir to mafia stories and horror, have often served DeLillo as, counterintuitively, a blank canvas – not as a narrowing template or pre-determined plot but as grounds for subversion, especially of the ideologies popular genres tend to encode, including the myths of individual agency with which DeLillo’s characters often strongly (and wrongheadedly) identify. DeLillo has remained interested in responding to generic narratives throughout his nearly fifty-year career because genres’ tired conventions and predictable endings often act as foils to his far more distinctive explorations of violence and death, that real-world ending, particularly in his late-career invocations of horror. The chapter examines primarily examples from Running Dog, Players, Libra, Underworld, The Body Artist, and Point Omega.