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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And when he died, whatever the circumstances, they would suddenly, all those elements that despised his unchecked power-they would invert their distrust and begin to float rumors that the Director himself was the victim of a wry homicide planned and carried out by unknown parties in the vast and layered webwork of the state.

This is how the Boss would finally draw some sympathy, an old man put to sleep in a complex scheme so expedient and deceitful as to be widely admired even as it was only half believed. And Clyde himself was already prepared to half believe it.

Edgar dead, pray God, not for ten, fifteen, twenty years yet.

Maybe the sixties would be over by then.

The woman in the gaudy mask said, "You think they'll be waiting outside, those creeps, to make me miserable all over again?"

The husband said, "It's nearly four a.m. Hey. They gotta sleep sometime."

At four a.m. they were waiting outside. Clyde and Edgar watched from the lobby. The last partygoers straggled out and the protesters rasped and chanted, wearing children's masks again.

An hour later it finally ended. Edgar and Clyde left by the main entrance and went down to the Cadillac as the spent trash of a day and a night in a great coastal city went wind-skidding through the streets.

The armored limousine rolled slowly back to the Waldorf.

Yes, the Director would finally get some sympathy from the same people who made jokes about them both. Smutty swishy jokes. But Edgar and Clyde were not a couple of old queens doddering on. They were men of sovereign authority. And Edgar did not intend to yield control anytime on this earth.

Clyde spotted the bug.

He glanced at Edgar, who sat mute and brooding in his sequined mask. He'd worn the mask steadily since dinner. Hard, cold, laconic, with all the private fury of some unassuageable pain, he wore the leather mask because it eased, if only briefly, the burden of control.

And when Clyde spotted the bug, the poky little Volkswagen with its incandescent doodles and whorls, he decided to say nothing to Edgar. The car was a hundred feet behind them, like a day-glo roach, slow and sleepless and clinging.

He said nothing to the Boss because the night had been filled with shock and distress and he wanted to absorb this final bodeful moment on his own. He was Junior after all, now and always, willingly, necessarily, however tired and befooled, the life companion and loyal second man.

5

OCTOBER 25, 1962

This was Thursday. They'd first felt the full impact of the danger on Monday evening when the President addressed the nation on radio and television. On Tuesday they were told that Soviet ships were en route to Cuba with missiles and warheads to add to the number already installed on the island. Wednesday was tense. On Wednesday they found out that our naval blockade was in effect and that fourteen Soviet ships were nearing the quarantine line.

Now it was Thursday. On Thursday evening as SAC bombers carrying thermonuclear weapons circled the Med or flew Arctic routes across Greenland or hugged the western borders of North America, people rode home from work with the radio on or the newspaper up in their eyes.

And with darkness webbing down out of the broad and soaring sky over the lake, deeper into evening now, the night people were out, slipping past the bars and tonky clubs, mingling with tourists and conventioneers who were checking out the action. On the fringe streets they sidestepped taxis on the prowl and veered around the traffic of negotiated vice and they made their way to Rush Street, finally, where Mister Kelly's stood, a big-name room in Chicago's bouncing night.

Lenny Bruce came slouching down from the second-floor dressing room and walked a little bleary-eyed through the kitchen and out the swinging doors, where he did a sidle step onto the stage.

A waiter with a tray said, "It's a human zoo out there tonight."

Fifteen minutes into his act Lenny took a condom out of his pocket and tried to fit it over his furrowed tongue. Then he tried to talk though it, or out of it. Finally he dangled the item between his thumb and index finger, holding it away from his body, specimenlike-it's a dead jellyfish that has the reflex power to deliver one last spasmic sting.

"I can be arrested in twenty-three states for waving this thing in public. You're thinking, Sure in the Bible belt. Actually I'm safe in the Bible belt because they don't know what this is. They put Saran Wrap on their dicks."

He shook his hands hallelujah and took a stagger step back.

"I swear I saw it in Time magazine. You get a box of Saran Wrap and you tear off as much as you need for your particular endowment."

The word endowment got a bigger response than Saran Wrap or Time magazine.

"Leftover meatloaf."

He did his hipster crack-up laugh, bending from the waist like some Hassid at serious prayer. There were a few people in the audience, two, three, four people going small and tight in their seats.

"Saran Wrap. It sounds interplanetary. Picture it. A little town somewhere in America. A housewife pins laundry on a line. White and Negro children play peacefully in a schoolyard. Apple pies are cooling on kitchen windowsills. Suddenly a deathly stillness. People pause in midmotion. A dog named Skipper hides under the porch steps. Then a blinding flash. It's a visit from outer space. Creatures from the planet Saran. They're very thin and sort of filmy looking. They say to the leaders of Earth, Take this new material we've just invented and test it on yourselves, because frankly we're afraid to."

Lenny's heavy lids began to lower slowly as he changed the scene.

"It's a documented thing, farm boys and ranch hands taking strips of Saran Wrap with them when they go on dates. There are teams of sociologists doing fieldwork on this matter. Not to mention admen on the Dow Chemical account, which is the company that makes the stuff, and they're looking to position their product as a food wrap and a scumbag, if only they could devise a diplomatic language. Ad biggies on Madison Avenue. Let's do a nice old country doctor in a lab coat. Sitting in his rustic office pulling Saran Wrap off the chicken sandwich his wife packed for his lunch and he drapes the wrap absent-mindedly around his finger. Talking about freshness and protection. Maybe sneaking in a word about overpopulation. And the admen get excited by the idea. Let's run it up the flagpole blah blah blah. It's nearly subliminal, dig?"

Lenny whirls and points at some phantom confederate in the wings. In fact there are no wings-just walls and doors.

He tried to fit the condom over his tongue again.

"Never underestimate the power of language. I carry a rubber with me at all times because I don't want to inseminate someone by schmoozing with her. Some innocent teenage girl asks for directions to State Street. Zap. A virgin birth."

A small commotion in the middle of the room-could be some walkouts or maybe just a waiter and some noisy plates. The waiters are supposed to work quietly during performances but this was a hungry bunch of trenchermen who made a racket when they ate, gorging on sirloins, barbecued ribs, lobster tails, spaghetti and chicken livers, and more or less thrashing their way through a Mister Kelly specialty, the green goddess salad.

Lenny said, "Love me unconditionally or I die. These are the terms of our engagement."

Kelly's was jam-packed tonight, well over the legal limit of a hundred and sixty, and they were sitting, standing and stacked ten deep at the fire exit. And they were loud, they bawled and lowed like beef on the hoof, men on business trips with dilated veins throbbing at their temples, a group of touring usherettes from the Far West, half expecting to encounter themselves in one of Lenny's bits, and look at the heavyset men in big suits with star sapphires on their pinky fingers, in from the mobster suburbs with lapels so wide they do semaphores when the wind blows. And a table filled with developers chewing on Cuban cigars-a bachelor night on the town. And sophisticated women digging the weird insides of one man's psyche. And a couple of butterball college professors looking for some belly laughs, idea men from the humanistic enclave. And Hugh Hefner and a cluster of Playboy models, aspiring centerfolds on leave from the Mansion, tall, young, fair and so flawlessly complexioned they seem to be airbrushed. And Hef with his dirty paternal smile steel-seamed around a briar pipe.

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