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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She found the old coat she thought she'd lost-how do you lose a coat, everybody said-five years ago at the lake.

The radio said, Take your belt and wrap it around your fist.

When her mother served pork loin last night her father muttered, "Off the pig," and somehow it wasn't meant to be funny although when Marian laughed he did too, a little bitterly.

The radio said, There's an ANFO bulletin coming up.

She was supposed to go to school at night but wasn't, to learn Stocks, bonds, debentures and other instruments of material wealth available for the production of more wealth, but wasn't because she just wasn't, but would, and soon, knowing what she knew, that she needed outside forces to counteract her tendencies.

She wanted to call Nick but knew he wouldn't be there.

The radio played recorded gunfire, car crashes, lines of gritty dialogue from old war movies.

Her mother called her remiss and indifferent. She suffered from disambition, said her mother.

Faculty Document 122 authorizes force against students. Faculty Document 122 authorizes force against students.

She listened to this because it was happening here but she also tuned out intermittently, let her attention wander, as a form of self-defense. There was a kind of tiredness to it all. It had that wearying insistence that made her want to tune out.

She packed and thought of calling, even though he wasn't there, to leave a message with someone in the school office, clever and sexy, and he wouldn't like that at all but she thought she might do it anyway.

ANFO seemed to be an acronym for ammonium nitrate and fuel oil.

She put the sweaters back in the dresser. She'd pick them up at Thanksgiving if she thought she needed them and if she didn't change her mind about their passability, which she was in the process of doing.

The radio said, Kafka without the f is kaka. Yes, we are talking about waste, we are talking about fertilizer, we are talking about waste and weapons, we are talking about ANFO, the bomb that begins in the asshole of a barnyard pig.

PigPigPigPigPigPigPig.

She dug a pack of cigarettes out of a pocket in the suitcase. Then she opened a window and lit one up. The noise came blowing in, bullhorn cops, news bulletins, rock music, and she turned off the radio and sat by the window smoking.

She'd seen a multicolored Volkswagen beetle with painted faces in the windows, earlier in the day, on Babcock Drive.

She sat there blowing smoke out the window because her mother was supposedly allergic and would have preferred, in any case, that Marian did not smoke, and they were taking off their belts and wrapping them around their fists.

And a Dow recruiter was trapped in Commerce Hall, listening to firecrackers, if that's what they were, going off outside the door to room 104, where he talked across the desk to a potential recruit.

There were trash fires on lower State Street.

There were rumors about Terminal Theater, a group that did not concede its own existence, and a student on a second-story porch on Mifflin Street turned up the volume when she saw police in riot gear moving in a double column down the street.

And over by the Library Mall members of the San Francisco Mime Troupe, if that's who they were, kept turning up among the police, more or less suicidally, wearing whiteface and carrying panpipes and dressed in busker costume, quaint and ill-fitting mid-Victorian drag, with cricket caps, a dozen young men and women on the police side of the skirmish line, mimicking the gestures of the cops and getting dragged to a van and beaten.

People everywhere listened to the radio, to the dialogue between what was real and what was spliced and mixed and processed and played, and the speakers dealt out heavy metal and a woman on the air read the copy on package inserts of Dow products, speaking in a hushed and sexy voice.

The police began firing tear gas and students started running toward the gas out of a sort of rompish curiosity or because the gas carried a fragrance of apple blossoms, believe it or not, a fast-acting agent now being used in Vietnam.

Common Sense, Uncommon Chemistry. This was Dow's catchy ad slogan and the woman read it on the air repeatedly in a soft and sexy voice.

There were Dow interviews scheduled in three buildings but the sit-in was taking place at Commerce and that's where the recruiter sat trapped, with a hamburger going cold in a white bag.

Two squads of police formed a wedge.

He said to the potential recruit, "So tell me about what happens between now and graduation day."

The kid said, "Someone had a live rat out there."

"Let's, I think, stick to the issue," the recruiter said, "for our own, really, peace of mind."

Or they ran toward the gas because they thought the moral force of their argument would neutralize the effect of the chemicals.

The San Francisco Mime Troupe was not supposed to be on the Library Mall. This was the interesting thing.

And affinity groups started fires here and there, or broke windows, small bands with names like the Mudville Nine, the members masked in bandannas soaked in baking soda and egg white, a folk remedy against the gas.

And smoke in white streamers rose from projectiles that came flopping down on the broad lawn in front of Bascom Hall. Students were running the other way now, moving in an agitated mass, some with dixie cups over their mouths or hankies out, and others strolled casually on the sidewalk between the squads of helmeted police and the thickening gas, which was beginning to roll in banks toward the columned hall, and a guy resting a guitar lengthwise on his head stood watching from the streetlight.

And the sexy voice on the radio repeated the Du Pont slogan now. Better Things for Better Living… Through Chemistry. The woman enjoyed the pause. She prolonged the pause. She moaned through the pause. She spoke urgently and excitedly up to the pause and then she paused and moaned slowly and then she finished reciting the slogan, finally, all sated and limp and moaned out, and then she started from the beginning again.

The San Francisco Mime Troupe was supposed to be in front of Old Chemistry This was the interesting thing. They were supposed to be passing out copies of Faculty Document 122, in front of Old Chemistry, which is exactly where they were, chanting Faculty Document 122 authorizes force against students. This was interesting because it meant that the people in whiteface on the Library Mall must be members of Terminal Theater, the legendary factoidal group whose name, even, was subject to conjecture, or was an aspect, perhaps, of the group's borderline existence.

Rock-and-roll everywhere, serpentine twangs of feedback rolling from window speakers all over the campus and on nearby streets.

The police were coming down hard now, clubs out, cops acting without orders or against orders, inevitably, riding their own rampant highs.

The recruiter and the student waited to be rescued and they talked in the meantime about courses and professors as an affinity group entered the building with cherry bombs, lengths of pipe and size D flashlight batteries, the homemade makings of a mortar attack.

The radio reported that Lyndon Johnson was being dangled upside down from a towline on a helicopter, swinging in the breeze over the Primate Lab, right here in Madison, in the outright nude, after being kidnapped by parties unknown.

The radio reported that you could make your own napalm by mixing one part liquid detergent Joy with two parts benzene or one part gasoline. Shake vigorously.

The day-glo VW moved through the streets and Marian shut the window and turned on the radio and then went and flushed the cigarette down the toilet.

She began to understand that someone or some group had taken over the radio and as the day waned a man recited instructions for the manufacture of a fertilizer bomb. How to buy the nitrate, cheap, it comes bagged or bulk, from a farm-supply store, and how to add the fuel oil and what to do to ignite the mix.

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