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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Lenny Bruce in concert.

" New York, New York. We say it twice. Once to entice them to leave Kansas. And once more over their grave."

They heaved in their seats.

" New York, New York . Like a priest doing his Latin gig. Mumbo jumbo, mumbo jumbo. He says it twice because he's talking about shit, piss and corruption and he wants to be sure you understand."

His people were here, the A amp;R guys from the Brill Building, the fellow comics who worked toilets all over Jersey, the actors and would-be actors and actor-waiters and cabdrivers with equity cards. The balding men from the Upper West Side were here, with shaggy sidelocks and intimations of suffering, and the women were with them- frizzy , lippy, opinionated, with full bodies and big rich real faces and a brassy way of laughing.

Lenny wore a white slim-line suit, well-pressed, and a puce pimp shirt with a roll collar, like a man trying to remind himself he is indestructible.

It was midnight in a driving rain but they were all here, musicians and folkies, writers for the high-dome journals, a selection of people with wasted chalk faces and needle lesions under their clothes and there were a fair number of disembodied others just finished smoking some DMT, the quick-acting chemical superhigh devised by NASA to get us to the moon and back whether we want to go or not.

He looked up and down and around.

"What a crazy nerve-wracked morbid week. We're all drained. We were minutes from being fireballed. But now, but now, but now."

He looked past the slender columns into the depths of the third tier and then up at the faces hanging over the balustrade at the top of the house, young people glowing slightly in the overspill from spotlights placed high on the side walls.

" We're not gonna die !"

He did a minstrel dance step, mouth wide, hand high, fingers spread, and stood there laughing a while.

"Yes, they saved us. All the Ivy League men in those striped suits and ribbed black socks that go all the way to the knee so when they cross their legs on TV we don't see a patch of spooky white flesh between the sock and the pants cuff. It's so vulnerable, dig, that strip of pale skin. The legs of powerful men tend to be hairless, which makes them feel secretly weak and effeminate, so they make sure they're wearing high enough socks. Garters are a tricky business for exactly this reason. No, yes, they saved us. They did it. Russians agree to remove missiles and end construction of missile bases in Cuba. Khrushchev is retching in his latkes. He's taking hot baths to relax. Like a plastic pouch of corn coming to a boil."

Lenny's teenage fanatics were here, kids from Brooklyn and Queens who did his bits word for word, memorizing off his albums but more religiously from the rare tapes slyly recorded by traffickers in contraband goods. And Bronx boys who lope along the Grand Concourse to catch every foreign flick at the Ascot, hoping for a glimpse of titty- Lenny was their diamond cutter, their cool doomed master of uncommon truth.

"They saved us in their horn-rimmed glasses and commonsense haircuts. They got their training for the missile crisis at a thousand dinner parties. Where it's at, man. This is the summit of Western civilization. Not the art in the shlocky museums or the books in the libraries where bums off the street infest the men's rooms. Forget all that. Forget the playing fields of Eton. It's the seating plan at dinner. That's where we won. Because they toughed it out. Because they were tested in the cruelest setting of all. Where tremendous forces come into play and crucial events unfold. Dinner parties, dig it, in the Northeast corridor. Your mother used to say, Mix, sweetheart. There was anxiety, a little hidden terror in her voice. Because she knew. Mix or die. And that's why we won. Because these men were named and raised for this moment. Yes, tested at a thousand formative dinners. It started in adolescence. Seated next to adults, total strangers, and forced to make conversation. What a sadistic thing to tell a kid. Make conversation . Some could not do it. Some broke down and were sent to forestry school, They smoked roots and leaves and grew facial hair. They developed involved relationships with animals. But others. The others. The others masturbated to marching songs and married their second cousins and grew strong and dominant. You know they're powerful men when their wives play bridge with the curtains drawn. The sunlight gives them migraines. They twist their handkerchiefs when they talk. Remember how your aunt Tovah would sit twisting her hanky. Stand up straight, she'd say. Talk to people, she'd say Try For me, sweetheart."

Through the long night, too long, three solid hours nonstop, too long because it has to be too long, they've just survived a crisis and need to be intemperate, and too long because Lenny just can't stop, he looks up from under the proscenium arch and sees the ornamented ceiling and the gilded rows of boxes and he knows this is the temple of Casals and Heifetz and Toscanini and it gives him a mainline jolt, and too long because he's been running on scared fumes all week and he feels revived, alive, ready to wail the night away

The disc jockeys were here, guys who did late-night jazz in voices of smoky innuendo. Celebrities were spaced through the orchestra, called the Parquet with a capital P Mixed-race couples were here, displaying a honed nonchalance. People bored with ordinary comedy People who wanted to be challenged and attacked, who wanted to hear their well-meaning sentiments exposed as so much liberal dinner prattle.

Lenny screwed the mike off the stand and blessed them all.

"Lemme tell you the untold story of the week. The President called the Pope." A stir of anticipation. But it puts him off-he's not in the mood for popes tonight. "Yeah, they were in secret communication all week long. Never mind all that separation of church and state crap. They stick together, these crossbacks." Popes are automatically funny-they don't need Lenny to dignify their shtick. "The Pope's got submarines, you know. Justa say the word, Johnny, I send. We nihi-late them sonna ma bitches. Your Holiness, I'm astonished, man. You have your own fleet of subs?"

Lenny lost interest. He swerved into sermons and admonitions, streams of rumination on patriotism, communism, the income tax and women who insert cigarettes in their pussies and blow perfect smoke rings. And when he said something funny or produced an occasional zing of insight, and they applauded, he said, No, don't, please- lemme fly on my own.

"I've always known. I've known since childhood. I'm as corrupt as they are. I grew up here. The police are crooked and so am I. The politicians lie and I lie worse. I wanna kill myself on television so people can go to sleep with the face of a dead sinner on the rim of their eyeballs."

They saw the lounge lizard with bedroom eyes. They saw and heard the frisky kid with the adenoidal voice, the boy who wants to make his mother laugh. They heard the frantic talker who chases after his own discontinuous ideas. They saw the zonked layabout, all lassitude and spent attention span. They heard the crusader for dirty words, the social philosopher, the self-styled lawyer, the self-critical Jew, the Christian moralizer and the commentator on race.

"I flew in from Miami last night and took a taxi direct to the Apollo Theater, where I met up with some friends for the late show because I love that scene, and we came out after the show and I've got a suitcase and a garment bag and it's late and it's cold and we can't find a cab because cabs don't go to Harlem and so we start wandering, dig, and we come across an old man on a corner doing a rap for three people. He's about a hundred years old and he's preaching to three sorry souls and it's like Hyde Park Corner only in blackface."

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