Don DeLillo - Underworld

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Amazon.com Review
While Eisenstein documented the forces of totalitarianism and Stalinism upon the faces of the Russian peoples, DeLillo offers a stunning, at times overwhelming, document of the twin forces of the cold war and American culture, compelling that "swerve from evenness" in which he finds events and people both wondrous and horrifying. Underworld opens with a breathlessly graceful prologue set during the final game of the Giants-Dodgers pennant race in 1951. Written in what DeLillo calls "super-omniscience" the sentences sweep from young Cotter Martin as he jumps the gate to the press box, soars over the radio waves, runs out to the diamond, slides in on a fast ball, pops into the stands where J. Edgar Hoover is sitting with a drunken Jackie Gleason and a splenetic Frank Sinatra, and learns of the Soviet Union's second detonation of a nuclear bomb. It's an absolutely thrilling literary moment. When Bobby Thomson hits Branca's pitch into the outstretched hand of Cotter-the "shot heard around the world"-and Jackie Gleason pukes on Sinatra's shoes, the events of the next few decades are set in motion, all threaded together by the baseball as it passes from hand to hand.
"It's all falling indelibly into the past," writes DeLillo, a past that he carefully recalls and reconstructs with acute grace. Jump from Giants Stadium to the Nevada desert in 1992, where Nick Shay, who now owns the baseball, reunites with the artist Kara Sax. They had been brief and unlikely lovers 40 years before, and it is largely through the events, spinoffs, and coincidental encounters of their pasts that DeLillo filters the Cold War experience. He believes that "global events may alter how we live in the smallest ways," and as the book steps back in time to 1951, over the following 800-odd pages, we see just how those events alter lives. This reverse narrative allows the author to strip away the detritus of history and pop culture until we get to the story's pure elements: the bomb, the baseball, and the Bronx. In an epilogue as breathless and stunning as the prologue, DeLillo fast-forwards to a near future in which ruthless capitalism, the Internet, and a new, hushed faith have replaced the Cold War's blend of dread and euphoria.
Through fragments and interlaced stories-including those of highway killers, artists, celebrities, conspiracists, gangsters, nuns, and sundry others-DeLillo creates a fragile web of connected experience, a communal Zeitgeist that encompasses the messy whole of five decades of American life, wonderfully distilled.
***
Starting with a 1951 baseball game and ending with the Internet, "Underworld" is not a book for the faint-hearted. Elegiac in tone and described variously as DeLillo's Magnum Opus and his attempt to write the Great American Novel, the book weighs in at a hefty 827 pages and zips back and forwards in time, moving in and out of the lives of a plethora of different characters.
Following three main themes – the fate of a baseball from the winning game of the 1951 world series, the threat of atomic warfare and the mountains of garbage created by modern society – DeLillo moves forwards and backwards through the decades, introducing characters and situations and gradually showing the way their lives are interconnected.
Reading the prose can be uncannily like using a web browser: the narrative focus moves from character to character almost as quickly as we are introduced to them, and the time frame regularly changes to show further connections between the key players. This device – literature as hypertext – is particularly effective in the early parts of the novel and the technique never intrudes on the story itself.
The book focuses on Nick Shay, a former hoodlum who now works in the burgeoning waste management industry and owns the baseball from the 1951 game, "the shot heard around the world". In addition to Nick we hear from Frank Sinatra, J. Edgar Hoover, Lenny Bruce and the various people who move in and out of Nick's life: lovers, family, friends and colleagues. Through these seemingly disconnected narratives DeLillo paints a picture of Cold War paranoia at its peak – the baseball game happened the same day as the USSR 's first nuclear test – and the changes affecting his characters as a microcosm of American society as a whole.
Very few writers, however, can justify over 800 densely-printed pages to tell a story and "Underworld" would have benefited greatly from judicious wielding of the blue pencil. Potentially intriguing plots which feature strongly in the earlier parts of the book – an intriguing serial killer subplot, the stories of each person who possesses the winning baseball – are abandoned halfway through the book in favour of overlong childhood memories or the inane ponderings of a performance artist; other stories are neglected for over 400 pages before reappearing at the end of the novel, causing an unwelcome jolt as the reader tries to remember the pertinent details.
In this respect "Underworld" is a victim of its own ambition: by trying to cover such a wide range of characters and situations, DeLillo loses track of some of them and, in the latter parts of the novel in particular, the writing feels as if it is on autopilot while the author works out what to do next.
There is still much to recommend in "Underworld", however. Each vignette is lovingly crafted: DeLillo seems as comfortable writing from the perspective of a street missionary as he is inhabiting J Edgar Hoover's paranoia. The book employs vivid imagery, from painted angels on ghetto walls to the cityscape created by mountains of domestic waste, and the dialogue is usually well-observed and thoroughly believable although it does flag when describing Nick Shay's hoodlum past. Despite its faults DeLillo has created an ambitious and powerful novel which, due to its size, can also be used to swat annoying children on trains. Highly recommended.
Gary Marshall

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"Tell me again where we're going," she said.

They spent the night at the edge of an Indian reservation, in an old adobe lodge with a teenage girl eating popcorn at the desk and the white dome of an observatory visible from their bed.

It was a fine beamed room with creepy suburban furniture and they were shy because they hadn't seen or touched each other in a long time and Janet had to get used to this. They'd only slept together several times, planned always in advance. They didn't have a set of understandings, a pace and glance, the whole hushed protocol of wishes and hints, bodies lightly brushing in the elevator. There was no elevator here. And Janet was a little unsure of herself in a strange room. It wasn't really her, was it?

Another woman might feel the lure of anonymity. Meeting a man in a room of a thousand previous men and women. Shedding the personal past in a faceless sort of motel abandon. But this wasn't a motel and at least there was that to be thankful for.

She was nervous, standing by the window in her jeans and bra. They'd gotten only as far as the bra. That's when she paused to talk, to let him know how she felt. She was not sexually anxious. She was sexually anxious, yes, but mainly unsure in a general way, she said, because it did not seem completely comfortable, meeting a man in a setting that had predetermined expectations-a strange bed in the middle of nowhere. She had a way of seeing herself, a wariness about things that didn't feel right. The place wasn't particularly clean for one thing. The girl downstairs for another, cross-eyed or walleyed, whatever. She talked to him honestly, in her small voice, slightly piping, and he lay in bed and listened, waiting for her to get used to the idea, a flight across country that ends in a random sort of room, making her feel isolated from everything that's familiar.

He listened and waited and finally understood that some of the things she was saying about herself were also true of him. He understood this the way you sneak up on things you've always sort of known.

She stood by the window. Over her shoulder he could see the observatory dome washed in last light at the top of the mountain.

There were men who walked these deserts a hundred years ago, the penitentes, chanting and fasting, scourging themselves with hemp whips, or whips made from the braided fiber of the yucca plant, or cord whips, la cuerda , a small whip of tightly knotted wool.

Janet didn't know how to look at the desert. She seemed to resent it in some obscure personal way. It was too big, too empty, it had the audacity to be real.

They drove and talked.

"Tell me again why we're going there."

"It's a wildlife preserve and gunnery range."

"So if one doesn't kill us, the other will."

He reached over and put his hand on her leg.

"We want to be alone," he said.

"We could be alone in Boston."

"They don't have bighorn sheep there. We want to see bighorns in the wild."

"What will we do when we see them?"

"We'll be happy. It's rare that anyone sees them. And it's very remote, where we're going. We'll rejoice and be glad. They're beautiful animals that no one ever sees."

She moved closer to him. She didn't like public affection and even if they were alone on the road it wasn't her apartment, was it, and it wasn't even a room in a lodge with a locked door and drawn curtains, once she'd gotten around to drawing the curtains, but she moved a little closer anyway and told him if she'd known he was going to stroke her thigh she wouldn't have worn thick coarse jeans, would she?

Matt didn't think he'd ever felt so happy. He was happy when she leaned against him and maybe happier still when she read aloud from the small library he'd amassed in preparation for the trip.

They saw hawks installed on utility poles and she looked them up in the bird book and said they were kestrels-falcons, not hawks, and this made him happier yet.

The landscape made him happy. It was a challenge to his lifelong citiness but more than that, a realization of some half-dreamed vision, the otherness of the West, the strange great thing that was all mixed in with nation and spaciousness, with bravery and history and who you are and what you believe and what movies you saw growing up.

After a while he told her to stop looking at the book and look at the scenery but the scenery was empty spaces and lonely roads and this made her very nervous.

When Nick came back from Minnesota, Matty called him the Jesuit.

His catechism days were well behind him now, Matty's were, his days of blind belief, and he liked to gibe at his brother's self-conscious correctness, his attempts at analytical insight. Whatever Nick's experience in correction and however deftly the jebbies worked him over later in their northern fastness, minting intellect and shiny soul, it was still a brother's right to heckle and jeer.

Their mother also called him the Jesuit but never so Nick could hear.

They filled the tank and bought charcoal, food and bottled water. They found the office of the refuge manager at the far end of town and Matt went in and received a permit and signed a liability release. This was called a hold harmless form and it basically pointed out that if they were killed and/or injured during live-fire exercises while they were in the refuge, it would be the giddiest sort of childlike illusion for either or both of them and/or their survivors to think for even a minute about receiving compensation.

Fair enough. They were allowed to enter the refuge but placed on notice that air-to-air exercises were set to commence three days from now. Friendly fire. It put a little edge in their schedule.

He told all this to Janet, conscientiously. He told her they weren't allowed to handle or take possession of any military items found in the area such as fuel drums, flare casings, tow targets, projectiles carrying real or dummy warheads. He told her there were no human inhabitants of the refuge. He told her there was no gas, food, lodging or other facilities. She had a right to know. He told her there were no paved roads or running water.

But he didn't tell her why this excited him. He didn't say anything about this because he didn't understand it, the stark sort of shudder, the leveling out, the sense of knowing he was headed into remote Sonoran waste, where the interplay of terrain and weapons was a kind of neural process remapped in the world, a hollow sort of craving lifted out of the brain stem, or wherever, and painted over with words and sky and diamondback desert.

Janet said, "All right. Go go go go."

"At's the spirit."

"We're going to do it, let's do it."

"At's what I want to hear."

They drove south through a white space on the map, headed for the entrance to the refuge, and he recalled something Eric Deming had told him about this part of Arizona, a rumor, a sort of twilight zone story about people known as sensitives, men and women who were psychically gifted-telepathists, clairvoyants, metal-benders.

There was a secret facility near the Mexican border where sensitives were tested and experiments carried out. The idea was that psychic commandos might be able to jam the enemy's computer networks and weapons systems, perhaps even read the intentions of the defense minister riding in his chauffeured car in the middle of Moscow.

In fact the Russians were thought to be well ahead of us in this endeavor, Eric said, soulful and mystical as they were, and we were desperate to catch up.

Janet said, "There's something else of course."

"What do you mean?"

"Besides sheep. We're not going all this distance to look at sheep."

"Bighorn sheep. We want to be alone. Undistracted. So we can talk. An extended period. So we can figure things out."

"What things?"

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