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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Doing things with Jell-O was just about the best way to improve her mood, which was oddly gloomy today-she couldn't figure out why

From the kitchen window she could see the lawn, neat and trimmed, low-hedged, open and approachable. The trees at the edge of the lawn were new, like everything else in the area. All up and down the curving streets there were young trees and small new box shrubs and a sense of openness, a sense of seeing everything there is to see at a single glance, with nothing shrouded or walled or protected from the glare.

Nothing shrouded or secret except for young Eric, who sat in his room, behind drawn fiberglass curtains, jerking off into a condom. He liked using a condom because it had a sleek metallic shimmer, like his favorite weapons system, the Honest John, a surface-to-surface missile with a warhead that carried yields of up to forty kilotons.

Avoid contact with eyes, open cuts or running sores.

He sat sprawled in a butterfly chair and thought nobody could ever guess what he was doing, specially the condom part. Nobody could ever guess it, know it, imagine it or associate him with it. But what happens, he thought, if you die some day and it turns out that everything you've ever done in private becomes general knowledge in the hereafter. Everybody automatically knows everything you ever did when you thought you were totally and sneakingly and safely unseen.

Prolonged exposure to sun may cause bursting.

They put thermal pads on the Honest John to heat the solid fuel in preparation for firing. Then they remove the pads and launch the missile from a girderlike launch rail in a grassy field somewhere in the Free World. And the missile's infallible flight, the way it sweeps out precise volumes of mathematical space, it's so saintly and sun-tipped, swinging out of its apex to dive to earth, and the way the fireball haloes out above its column of smoke and roar, like some nameless faceless whatever. It made him want to be a Catholic.

Plus she'd have three chicken mousse salads for leftovers later in the week.

Out in the breezeway husband Rick was simonizing their two-tone Ford Fairlane convertible, brand-new, like the houses and the trees, with whitewall tires and stripes of jetstreak chrome that fairly crackled when the car was in motion.

Erica kept her Jell-O molds in the seashell beige cabinet over the range. She had fluted molds, ring molds, crown molds in a number of sizes, she had notes and diagrams, mold techniques, offer forms for special decorative molds that she intended to fill out and mail at her earliest convenience.

If swallowed, induce vomiting at once.

Eric stroked his dick in a conscientious manner, somber and methodical. The condom was feely in a way he'd had to get used to, rubbery dumb and disaffecting. On the floor between his feet was a photo of Jayne Mansfield with her knockers coming out of a sequined gown. He wanted to sandwich his dick between her breasts until it went wheee . But he wouldn't just walk out the door when it was over. He would talk to her breasts. Be tender and lovey. Tell them what his longings were, his hopes and dreams.

There was one mold Erica had never used, sort of guided missile-like, because it made her feel uneasy somehow.

The face in the picture was all painted mouth and smudgy lashes and at a certain point in the furtherance of his business Eric deflected his attention from the swooping breasts and focused on the facial Jayne, on her eyebrows and lashes and puckered lips. The breasts were real, the face was put together out of a thousand thermoplastic things. And in the evolving scan of his eros, it was the masking waxes, liners, glosses and creams that became the soft moist mechanisms of release.

Intentional misuse by deliberately inhaling contents can be harmful or fatal.

Erica wore a swirly blue skirt and buttercup blouse that happened to match the colors of their Fairlane.

Rick was still in the breezeway, running a shammy over the chrome-work. This was something, basically, he could do forever. He could look at himself in a strip of chrome, warp-eyed and hydrocephalic, and feel some of the power of the automobile, the horsepower, the decibel rumble of dual exhausts, the pedal tension of Ford-O-Matic drive. The sneaky thing about this car was that, yes, you drove it sensibly to the dentist and occasionally carpooled with the Andersons and took Eric to the science fair but beneath the routine family applications was the crouched power of the machine, top down, eating up the landscape.

Danger. Contents under pressure.

One of Erica's favorite words in the language was breezeway. It spoke of ease and breeze and being contemporary and having something others did not. Another word she loved was crisper. The Kel-vinator had a nice roomy crisper and she liked to tell the men that such-and-such was in the crisper. Not the refrigerator, the crisper. The carrots are in the crisper, Rick. There were people out there on the Old Farm Road, where the front porches sag badly and the grass goes unmowed and the Duck River Baptists worship in a squat building that sits in the weeds on the way to the dump, who didn't know what a crisper was, who had iceboxes instead of refrigerators, or who had refrigerators that lacked crispers, or who had crispers in their refrigerators but didn't know what they were for or what they were called, who put tubs of butter in the crisper instead of lettuce, or eggs instead of carrots.

He came in from the breezeway.

"The carrots are in the crisper, Rick."

He liked to nibble on a raw carrot after he'd waxed and buffed the car.

He stood looking at the strontium white loaf that sat on a bed of lettuce inside a cake pan in the middle of the table.

"Wuffwhatisit?"

"It's my Jell-O chicken mousse!"

"Hey great," he said.

Sometimes she called it her Jell-O chicken mousse and sometimes she called it her chicken mousse Jell-O. This was one of a thousand convenient things about Jell-O. The word went anywhere, front or back or in the middle. It was a push-button word, the way so many things were push-button now, the way the whole world opened behind a button that you pushed.

May cause discoloration of urine or feces.

Eric sidled along the wall and slipped into the bathroom, palming the sloppy condom. He washed it out in the sink and then fitted it over his middle finger and aimed the finger at his mouth so he could blow the condom dry. And in the movie version of his life he imagined how everything is projected on a CinemaScope screen, all the secret things he did alone over the years, and now that he is dead it's all available for public viewing and all his dead relatives and friends and teachers and ministers can watch him with his finger in his mouth, more or less, and a condom on his finger, and he is panting rhythmically to dry it off.

He heard his mother call his name.

He had to wash it and reuse it because this was the only one he had, borrowed from another boy, Danny Anderson, who'd taken it from his father's hiding place, under the balled socks, and who swore he'd never used it himself-a thing that wouldn't be fully established until both boys were dead and Eric had a chance to see the footage.

To avoid suffocation keep out of reach of small children.

Eric hid the rubber in his room, pressed into a box of playing cards. He took a long look at Jayne Mansfield's picture before he slipped it into the world atlas on his desk. He realized that Jayne's breasts were not as real-looking as he'd thought in his emotionally vulnerable state, dick in hand. They reminded him of something but what? And then he saw it. The bumper bullets on a Cadillac.

He went into the kitchen and opened the fridge, just to see what was going on in there. The bright colors, the product names and logos, the array of familiar shapes, the tinsel glitter of things in foil wrap, the general sense of benevolent gleam, of eyeball surprise, the sense of a tiny holiday taking place on the shelves and in the slots, a world unspoiled and ever renewable. But there was something else as well, faintly unnerving. The throb perhaps. Maybe it was the informational flow contained in that endless motorized throb. Open the great white vaultlike door and feel the cool breezelet of systems at work, converting current into power, talking to each other day and night across superhuman spaces, a thing he felt outside of, not yet attuned to, and it confused him just a bit.

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