all the while continuing her body artistry, detailed through her practice, a sort of yogic / kinesiological series of sometimes quotidian expressive postures that ultimately become imbued with her sublimation of deep loss. Because of Mr. Tuttle's "channeling" of Rey's words, Lauren begins to perceive him as an avatar of her late husband, and her attachment to him extends to sexual expression. Mr. Tuttle repeats the conversation between Lauren and Rey upon Rey's final departure from his wife towards Manhattan, where he shoots himself. Soon afterwards, Mr. Tuttle disappears. After a period of searching for him, Krikor emerges as having absorbed Mr. Tuttle's voice, and an article by Lauren's friend Mariella establishes that Lauren has adopted, as a body artist, a performance that includes her "transformation" into a masculinized Mr. Tuttle figure. As the novella closes, Lauren continues to grieve in the couple's home, and the owner visits, asking if he can retrieve a chest of drawers stored in the house. After this visit, Lauren continues ineffectually processing her grief, a psychic state mirrored throughout the text in the repetition / perseverance of the narrative. The Body Artist ends ambiguously; her identity compromised throughout the novella, Lauren throws open a window to "feel the sea tang on her face and the flow of time in her body, to tell her who she was" (126). Film In December 2014, Variety reported that French director Benoît Jacquot would make a film adaptation of the novel. The film is titled À jamais (or in English, Never Ever) and premiered at the 73rd Venice International Film Festival on September 9, 2016, before playing at the 2016 Toronto International Film Festival. References External links Reviews Salon review The Guardian review Village Voice review Pop Matters review Slate review Spirituality and Health review The Outside World review 2001 American novels American novellas American novels adapted into films Novels by Don DeLillo Novels set in New York City