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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"You know what things."

"What things?"

"Do we get married? Do we have kids, children? Do we wait a while? Do we live here, or there, or somewhere in the middle?"

"What else?" she said. "Because I know there's something else," Matt could believe the story about a closed base where sensitives refined their paranormal skills. Thought transfer and remote viewing. Why not believe it? He'd read many an enemy's mind as a ten-year-old, pushing wood across a game board. This was the supernatural underside of the arms race. Miracles and visions. The final wishful weapon is a middle-aged lady from Decatur who can pinpoint the location of Soviet submarines off the East Coast.

Unreal. This is what disturbed him. It was one of the things he wanted to talk about with Janet.

There were ship ridges, great ship rocks with prows thrust upward, and there were hills that resembled rubble heaps. The land seemed to be in open formation, harsh and scarred, and you could almost read upheaval and convergence. It looked like dinosaur country. They saw white mountains and flesh mountains and slags of glassy matter that turned out to be mountains when they drew near.

It took a long time to get anywhere. There was only the one road, one track, and sections were deep sand and other parts were ruts and gulleys. The sun beat down with a swarming sort of density. They came to flooded stretches where they had to leave the track and maneuver the jeep tenderly around the palo verde and cholla.

He looked up the words. He consulted the books all the time. He drove with a book or two in his lap, or asked Janet to look things up, or asked her to drive so he could read.

The dust powdered the hood and windshield and the sun seemed nearly upon them, burning down so squarely and vastly he wanted to laugh in shitface fear.

"I know you can't tell me about your job."

"I can tell you some things. I work with safing mechanisms, they're called. Timers, batteries, switches, actuators. Electromechanical locks. I run endless computer tests. I drink instant coffee and look at cross-section details of great finned weapons on my screen. Then a bunch of guys in California or Nevada or someplace will take a warhead and rocket-launch it into a hardened target at fifteen hundred miles an hour."

"To test your calculations."

"Splat. Not just mine of course. But, yes, that's the idea."

"You make weapons safer. Safer to handle and use."

"That's right."

"Then what's the problem? It's not exactly criminal activity."

"No but it's weapons work. It's what I wanted. I wanted this and more. But now I'm feeling unsure about it."

"It's important work, Matthew. We need the best people to do this work."

They were camped just yards from the track. He made a charcoal fire and they emptied cans of pork and beans into a pan. They put on sweaters and sat on a blanket.

She said, "What would you do if you left?"

"I'm not sure. Get a doctorate maybe. I know some people who work in think tanks. I'd want to talk to them. Sound them out."

She gave him a sour look. The term made her unhappy-think tank-and he didn't blame her. Passive, mild, middle-aged, ivory-towerish. People rustling papers in redoubts of social strategy. Situation reports, policy alternatives, statistical surveys.

He got the flashlight and led her to a spot where she might pee. The moon was nearly full. He waited while she lowered her jeans and squatted, more or less in one motion, and she looked at him and smiled, a dirty sort of smirk, a dirty-face girl with mucky drawers-didn't we do this once before, in another life? He played the light around them and softly sang the names of bushes and shrubs to the sound of Janet piddling. She laughed and peed in spurts. They thought they heard a coyote and she struggled into her jeans laughing.

They set up the dome tent and got into their mummy-shaped camp bags, nicely lined with flannel, and they realized the coyote was Wolfman Jack on the transistor radio, a howling disc jockey vectored into the desert from some bandit station below the border.

Don't put no badmouth on me, baby, we gon rock tonight. Da Wolfman sending Little Richard to climb in your face from out of the glory days of the marcel pompadour and the glass suit. Richard don't need no dry cleaner. He got his Windex wid him .

The sleeping bag had stretch straps that made it possible for you to roll over on your side, if that was your preference, and when Little Richard started bending notes in his primal falsetto, Matty thought he was in bed in the Bronx, a fifteen-year-old capable of trading his brother's old fielder's glove for three or four raunchy rock-and-roll singles, which he played when his mother was out.

Janet called him Matthew This was her way of separating him from family history, the whole dense endeavor of Mattiness, the little brother and abandoned son and chessboard whiz and whatever else was in the homemade soup.

He'd told Janet the story, how Nick believed their father was taken out to the marshes and shot, and how this became the one plot, the only conspiracy that big brother could believe in. Nick could not afford to succumb to a general distrust. He had to protect his conviction about what happened to Jimmy. Jimmy's murder was isolated and pure, uncorrupted by other secret alliances and criminal acts, other suspicions. Let the culture indulge in cheap conspiracy theories. Nick had the enduring stuff of narrative, the thing that doesn't have to be filled in with speculation and hearsay

Of course Matt thought his brother was guilty of emotional delusion. But when Janet agreed too readily, dismissing Nick's version, he cut her off quick. He defended Nick. He told her how he himself had thought their father was dead, originally. Not a runaway, a dropout, the grievously weak man who takes a powder. Dead somewhere in untranslated space. And even if he was a little kid at the time. Even if he did the sad-funny fruitcake thing of going to the Loew's Paradise to see the soul of his faithful departed father drift across the starry ceiling. Even if he was unable to make a studied judgment, he told her, consider the episode itself, the journey he'd made to a movie house through strange neighborhoods, alone, at the age of six. The power of an event can flow from its unresolvable heart, all the cruel and elusive elements that don't add up, and it makes you do odd things, and tell stories to yourself, and build believable worlds. Who the hell was Janet to ridicule his brother?

There were scar lines in the distance, deep arroyos, and stands of tall saguaro on the south slopes of mountains.

The track was white sand and then red dirt, it was cracked playa, drained and baked, and then it turned abruptly to mineral green dust and then again to sand and finally stony rubble.

Janet liked to drive aggressively whatever the surface. The jeep bucked and jumped, leaning badly at times, and when the track went narrow in thick bush she had to tell him to get his dangling arm back inside before the thorny acacia cut him up.

"I don't think you should leave your job out of conscience. Conscience works both ways," she said. "You have duties and obligations. If you're not willing to do this work, the next person may be less qualified."

"How hot do you think it is?"

"Never mind how hot. Too hot to be here. You have special training and a certain kind of skill."

"At some point we have to decide whether to turn around and go back out the way we came in."

"Or what?"

"Or keep going into bighorn country and exit the refuge somewhere in the northwest sector before the exercises start."

Ten minutes after he said this, they saw objects in the distance and he put the binoculars on them. They appeared to be tanks and jeeps, some trucks as well, but they were flimsy somehow, unbulky and perfunctory, showing squared-off contours and a cheap gleam-simulated tactical targets.

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