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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Buck buck how many horns are up ?

The clear cry reached him as he tossed the skin toward some cartons stacked at a cellar entrance. They are jumping on the backs of their playpals. It is usually the fattest boy who serves as cushion, standing against a wall or pole while the boys on one team stoop head to end and their rivals run and jump one by one and come yowing down. With the stooped boys swaying under the weight, the leader of the mounted team holds fingers aloft and calls out the question. How many horns are up? Bronzini tried to recall whether the padded boy, the slapped and prodded roly-poly, the one who dribbles egg cream down his chin-is he officially called the pillow or the pillar? Bronx boys don't know from pillars, he decided. Make him the mothery casing stuffed with down.

Twenty past four. The appointment was ten minutes hence and he knew that even if he arrived after the specified time he would not be late because Father Paulus was certain to be later. Bronzini envied the blithe arrivals of life's late people. How do they manage the courage to be late, enact the rude dare repeatedly in our waiting faces? A goat and four rabbits were hung upside down in a window, trussed at the hind legs, less affectingly dead than the flounder in the market- dumb scuzzy fur with nothing to impart. Envy and admiration both. He took it that these people refuse to be mastered by the pettier claims of time and conscience.

The butcher appeared at the door of his shop, flushed and hoarse, loud, foul, happy in his unwashed apron, a man who lived urgently, something inside him pushing outward, surging against his chest wall.

"Albert, I don't see you no more."

" You're seeing me now. You see me all the time. I bought a roast last week."

"Don't tell me last week. What's last week?"

The butcher called to people walking by. He called across the street to insult a man or engage a particular woman with knowing references. The rasping spitty sandblast voice. Other women twisted their mouths, amused and disgusted.

"What are you feeding that genius of yours?"

"He's not mine," Bronzini said.

"Be thankful. That was my kid I drive him out to the country and leave him on a hillside. But I wait for the dead of winter."

"We let him chew on a crayon once a week."

"Feed the little jerk some capozella. It makes him ballsy."

The butcher gestured at the whole lamb hanging in the window. Bronzini imagined the broiled head hot from the oven and sitting on a plate in front of Matty. Two cooked heads regarding each other. And Albert is telling the boy he has to eat the brain and eyes and principal ganglia. Or no more chess.

"It puts some lead in his pencil."

The butcher stood at the corner of the window looking well-placed among the dangled animals, his arms crossed and feet spread. Bronzini saw an aptness and balance here. The butcher's burly grace, watch him trim a chop, see how he belongs to the cutting block, to the wallow of trembling muscle and mess-his aptitude and ease, the sense that he was born to the task restored a certain meaning to these eviscerated beasts.

Bronzini thought the butcher's own heart and lungs ought to hang outside his body, stationed like a saint's, to demonstrate his intimate link to the suffering world.

"Be good, Albert."

"I'll be in tomorrow."

"Give my best to the woman," the butcher said.

Bronzini checked his watch again, then stopped at a candy store to buy a newspaper. He was trying to be late but knew he could not manage it. Some force compelled him to walk into the pastry shop not only on time but about two and a half minutes early, which translated to a wait of roughly twenty minutes for the priest. He took a table in the dim interior and unfolded the Times across the scarred enamel.

A girl brought coffee and a glass of water.

The front page astonished him, a pair of three-column headlines dominating. To his left the Giants capture the pennant, beating the Dodgers on a dramatic home run in the ninth inning. And to the right, symmetrically mated, same typeface, same-size type, same number of lines, the USSR explodes an atomic bomb- kaboom - details kept secret.

He didn't understand why the Times would take a ball game off the sports page and juxtapose it with news of such ominous consequence. He began to read the account of the Soviet test. He could not keep the image from entering his mind, the cloud that was not a cloud, the mushroom that was not a mushroom-the sense of reaching feebly for a language that might correspond to the visible mass in the air. Suddenly there the priest was, coming in a flurry, Andrew Paulus S.J., built low and cozy, his head poked forward and that glisten of spittle in his smile.

He had books and folders slipping down his hip but managed to extend a cluster of scrubbed fingers, which Albert gripped in both hands, pressing and shaking, half rising from his chair. It took a moment of clumsy ceremony with overlapping salutations and unheeded questions and a dropped book and a race to retrieve it before the two men were settled at the table and all the objects put away. The priest heaved, as they say, a sigh. He wore a roman collar fitted to a biblike cloth called a rabat and over this a dark jacket with pocket square and he could have been George the Waiter's tailored master in black and white.

"How late am I?"

"You're not late at all."

"I'm doing a seminar on knowledge. Wonderful fun but I lose track."

"No, you're early," Bronzini said.

"How we know what we know."

You had to look hard at Andrew Paulus to find a trace of aging. Unfurrowed and oddly aglow, with a faint baked glaze keeping his skin pink and fresh. Hair pale brown and fringed unevenly across the forehead in boyish bangs. Bronzini wondered if this is what happens to men who forswear a woman's tangling touch and love. They stay a child, preserved in clean and chilly light. But there were parish priests everywhere about, leaky-eyed and halting, their old monotones falling whispery from the pulpit. He decided this man was not youthful so much as ageless. He must be thirty years senior to Albert and not an eyelid ever trembles or a bristly whit of gray shows at the jawline.

"Did you see the paper, Father?"

"Please, we know each other too well. You're required to call me Andy now. Yes, I stole a long look at someone's Daily News. They're calling it the Shot Heard Round the World."

"How did we detect evidence of the blast, I wonder. We must have aircraft flying near their borders with instruments that measure radiation. Or well-placed agents perhaps."

"No no no no. We're speaking about the home run. Bobby Thomson's heroic shot. The tabloids have dubbed it for posterity."

Bronzini had to pause to take this in.

"The Shot Heard Round the World? Is the rest of the world all that interested? This is baseball. I was barely aware. I myself barely knew that something was going on. Heard round the world? I almost missed it completely."

"We may take it that the term applies to the suddenness of the struck blow and the corresponding speed at which news is transmitted these days. Our servicemen in Greenland and Japan surely heard the home-run call as it was made on Armed Forces Radio. You're right, of course. They're not talking about this in the coffeehouses of Budapest. Although in fact poor Ralph Branca happens to be half Hungarian. Sons of immigrants. Branca and Thomson both. Bobby himself born in Scotland, I believe. You see why our wins and losses tend to have impact well beyond our borders."

" You follow baseball then."

"Only in distant memory. But I did devour today's reports. It's all over the radio. Something propelled this event full force into the public imagination. All day a steady sort of ripple in the air."

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