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This article takes for its starting point the hypothesis that DeLillo’s interest in the sublime can be first and foremost assimilated to an obsession with setting a limit to the novel. The multiple forms taken by the sublime (forms of the uncertain or the impossible, openly constrained, forced, fabricated) invariably mark a limit in the narrative to be followed by a subsequent reflection on the commerce between representation and infinity in the world. If words cannot express the sublime, the ambivalent forms (the unstable, infinite regression, the virtual) found in novels like White Noise, Libra and Mao II reveal the problematics of its event.