Don DeLillo - Underworld

"What's a ball game to make us feel like this?"

"I have to go back. Left my topcoat in the booth."

"We need a walk to settle us down."

"We need a long walk."

"That's the only coat you've ever loved," says Al.

They leave by way of the Dodger clubhouse and there's Branca all right, the first thing you see, stretched facedown on a flight of six steps, feet touching the floor. He's still in uniform except for shirt and cap. He wears a wet undershirt and his head is buried in his crossed arms on the top step. Al and Russ speak to a few of the men who remain. They talk quietly and try not to look at Branca. They look but tell themselves they aren't. Next to Branca a coach sits in full uniform but hatless, smoking a cigarette. His name is Cookie. No one wants to catch Cookie's eye. Al and Russ talk quietly to a few more men and all of them together try not to look at Branca.

The steps from the Dodger clubhouse are nearly clear of people. Thomson has gone back inside but there are fans still gathered in the area, waving and chanting. The two men begin to walk across the outfield and Al points to the place in the left-field stands where the ball went in.

"Mark the spot. Like where Lee surrendered to Grant or some such thing."

Russ thinks this is another kind of history. He thinks they will carry something out of here that joins them all in a rare way, that binds them to a memory with protective power. People are climbing lampposts on Amsterdam Avenue, tooting car horns in Little Italy. Isn't it possible that this midcentury moment enters the skin more lastingly than the vast shaping strategies of eminent leaders, generals steely in their sunglasses-the mapped visions that pierce our dreams? Russ wants to believe a thing like this keeps us safe in some undetermined way. This is the thing that will pulse in his brain come old age and double vision and dizzy spells-the surge sensation, the leap of people already standing, that bolt of noise and joy when the ball went in. This is the people's history and it has flesh and breath that quicken to the force of this old safe game of ours. And fans at the Polo Grounds today will be able to tell their grandchildren-they'll be the gassy old men leaning into the next century and trying to convince anyone willing to listen, pressing in with medicine breath, that they were here when it happened.

The raincoat drunk is running the bases. They see him round first, his hands paddling the air to keep him from drifting into right field. He approaches second in a burst of coattails and limbs and untied shoelaces and swinging belt. They see he is going to slide and they stop and watch him leave his feet.

All the fragments of the afternoon collect around his airborne form. Shouts, bat-cracks, full bladders and stray yawns, the sand-grain manyness of things that can't be counted.

It is all falling indelibly into the past.

I was driving a Lexus through a rustling wind. This is a car assembled in a work area that's completely free of human presence. Not a spot of mortal sweat except, okay, for the guys who drive the product out of the plant-allow a little moisture where they grip the wheel. The system flows forever onward, automated to priestly nuance, every gliding movement back-referenced for prime performance. Hollow bodies coming in endless sequence. There's nobody on the line with caffeine nerves or a history of clinical depression. Just the eerie weave of chromium alloys carried in interlocking arcs, block iron and asphalt sheeting, soaring ornaments of coachwork fitted and merged. Robots tightening bolts, programmed drudges that do not dream of family dead.

It's a culmination in a way, machines made and shaped outside the little splat of human speech. And this made my rented car a natural match for the landscape I was crossing. Heat shimmer rising on the empty flats. A bled-white sky with ticky breezes raking dust across the windshield. And the species factually absent from the scene-except for me, of course, and I was barely there.

Let's just say the desert is an impulse. I'd decided in a flash to switch planes and get a car and hit the back roads. There is something about old times that's satisfied by spontaneity. The quicker you decide, the more fully you discharge the debt to memory. I wanted to see her again and feel something and say something, a few words, not too many, and then head back into the windy distance. It was all distance. It was hardpan and sky and a wafer trace of mountain, low and crouched out there, mountain or cloud, cat-shaped, catamount-how human it is to see a thing as something else.

The old road bent north, placing the sun approximately abeam, and I wanted to feel the heat on my face and arms. I turned off the air conditioner and lowered the windows. I reached for the tube of sunblock, protection factor fifteen, a thing I keep nearby even though I'm olive-skinned, dark as my father was.

I slowed the car to a no-hands crawl and applied the stuff to half my face and one arm, the exposed person, because I was fifty-seven years old and still learning how to be sensible.

The musky coconut balm and the adolescent savor of heat and beach and an undermemory of seawater rush, salt scour in the eyes and nose. I squeezed the tube until it was sucked dry. It sucked and popped and went dry. I glimpsed something, a mental image, a sort of nerve-firing, a desert flash-the briefest puddled color of an ice-cream vendor weaving through high sand.

Later the wind died and a cloudreef rimmed in pale rose hung low and still. I was on a dirt road now, spectacularly lost, and I stopped the car and got out and scanned the landscape, feeling pretty dumb, and I thought I saw some funk holes out among the yucca-old concrete bunkers from a mining operation or military test site. It would be dark in forty-five minutes. I had a quarter tank of gas, half a can of iced tea, nothing to eat, no warm clothes, a map that scanted the details.

I would drink my tea and die.

Then a scatter of dust, a hazy mass rising from the sundown line. And an approaching object that made me think of a hundred movies in which something comes across the wavy plain, a horseman with scabbarded rifle or a lone cameleer hunched in muslin on his dumb-headed beast, This thing was different, raising twin kicks of sand, coming at a nice clip. But not your everyday average all-terrain vehicle. It had a roof light and a gleam of yellow paint and it was brassy and jouncing, with a cartoon shine. The happiest sort of apparition, coming down the rutted path like a pop-art object. Less than fifty yards away. It seemed to be, it clearly was a New York taxi, impossible but true, yellower than egg yolk and coming fast.

What better gesture might I devise than an outstretched hailing hand?

But the damn thing did not slow down. Windows open, music ripping out-a surge of steroid rock. I stepped back out of the way, my arm still raised, the suntan arm, sleek with chemicals. I saw the cab was jammed with people and I called out as they went by-a person's name, a password in the throbbing air.

"Klara Sax," is what I shouted.

And there were answering shouts. The taxi slowed briefly and I could hear them cheering. Then arms came jutting from two or three windows, waving and beckoning, and a single smiling yellow head, a blond woman sunny and young and looking back at me-the driver serene in all that ruckus, driving blind-and the taxi springing away, hightailing through the studded vegetation and out across the desert.

I got in my silent car and followed.

The volunteers were mainly art students but there were others as well, history majors and teachers on leave and nomads and runaways, coming and going all the time, burnt-out hackers looking for the unwired world, they were people who heard the call, the whisper in the ear that sends you out the door and into some zone of exalted play.