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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Baseball's oh so simple. You tag a man, he's out. How different from being it . What spectral genius in the term, that curious part of childhood that sees through the rhymes and nonsense words, past the hidings and seekings and pretendings to something old and dank, some medieval awe, he thought, or earlier, even, that crawls beneath the midnight skin.

The young man struck the match with one hand. He'd learned this when he first started smoking, about a year ago, although it seemed to him that he'd been smoking forever, Old Golds, isolating the match by closing the cover behind it and then bending the match back against the striking surface below and driving the head with his thumb. Then he brought the flared match up to his cigarette, his hand cupping the whole book with the match still secured. He lit up, shook out the flame and conceded use of the other hand to pluck the spent match from the book and send it to match hell.

You need these useless skills to make an impression on the street.

The science teacher fading into the evening, southbound, and his former student Shay, a mopey C-plus in introductory chemistry, walking the other way on the same street, into the shopping district, taking deep drags on his cigarette, with numbers running in his head.

Ever since the game yesterday, Nick's been seeing the number thirteen. The game, the mass hurrah, the way he crouched over his radio, ready to puke his guts all over the roof. All day today, thirteens coming out of the woodwork. He had to get a pencil to list them all.

Branca wears number thirteen.

Branca won thirteen games this year.

The Giants started their pennant drive thirteen and a half games behind the Dodgers.

The month and day of yesterday's game. Ten three. Add the digits, you get thirteen.

The Giants won ninety-eight games this year and lost fifty-nine, including the play-offs. Nine eight five nine. Add the digits, reverse the result, see what you get, shitface.

The time of the home run. Three fifty-eight. Add the digits of the minutes. Thirteen.

The phone number people called for inning-by-inning scores. ME 7- 1212. M is the thirteenth letter of the alphabet. Add the five digits, old thirteen.

Take the name Branca-this is where he started going crazy. Take the name Branca and assign a number to each letter based on its position in the alphabet. This is where he started thinking he was as crazy as his brother doing chess positions or probabilities or whatever the kid does. Take the name Branca. The B is two. The r is eighteen. And so on and so on. You end up with thirty-nine. What is thirty-nine? It is the number which, when you divide it by the day of the month of the game, gives you thirteen.

Thomson wears number twenty-three. Subtract the month of the year, you know what you get.

Two guys were pushing a car to get it started. Nick nearly went over to help but then didn't. He was done with baseball now, he thought, the last thin thread connecting him to another life. He saw the old man who dressed as a priest, more or less, wearing a cassock sometimes with house slippers, or one of those ridged black hats a priest wears, blessing the fucking multitudes, and ordinary shabby street clothes.

He walked into the butcher shop. The bell over the door rattled and the butcher stood above the block, Cousin Joe, hacking at a pork loin.

The other butcher said, "Hey. Look who's here."

He said it the way you say something in passing, to no one in particular.

Cousin Joe looked up.

"Look who's here," he said. "Nicky, what's the word?"

The other butcher said, "Hey. He wants to be called Nick. You don't know this?"

"Hey. I know this guy since he's four years old. A little skinny malink. How long you been coming in here, Nicky?"

Nick smiled. He knew he was only a stationary object, a surface for their carom shots.

"I seen him with that girl he goes with. Loretta," the second butcher said.

"You think he's getting some?"

"I know he is. Because I look at his face when they walk by."

"Nicky, tell me about it. Make me feel good," the butcher said. "Because I'm reaching the point I have to hear other people's, you know, whatever it is they're doing that I'm not doing no more."

"I think he's a cuntman. Up and coming."

"This is true, Nicky?"

Nick's mood was improving.

"I think he's getting so much there's not enough left over for the rest of us," the second butcher said, Antone, barely visible behind the display case.

"Make me feel good, Nicky. I stand here all day, I look at them go by. Big women, short women, girls from Roosevelt, girls from Aquinas. You know what I say to myself. Where's mine?"

"Nicky's got yours. He's got mines too."

"Him, I could believe it."

"And you know why, Joe?"

"He's doing something he shouldn't be doing."

"He's got that pussy smile when he walks by. Which could only mean one thing. The kid is eating box lunch at the Y."

" Sboccato ," the butcher said happily, berating Antone, rasping the word from deep in his throat. Foulmouth.

Nick went to the door and opened it and waited for a woman to walk past and then flicked his cigarette toward the curbstone.

"Who's better than him?" Antone said.

" You going to school, Nicky?"

"He goes when he goes. Hey. Who's better than him?" Antone said. "I would give my right arm."

Antone took the bag out of the case. It held chops, chicken breasts and fresh bacon. He passed it over the top to Nick.

"Who's better than you?" he said.

"Be good," Cousin Joe said.

"My right arm I would give. Look at this kid."

A taste of blood and sawdust hung in the air.

"Regards to your mother, okay?"

"Be good, okay?"

"Be good," the butcher said.

Bronzini lay beaming in the massive bath, a cast-iron relic raised on ball-and-claw feet, only his head unsubmerged.

Salt crystals fizzed all around him.

His wife leaning against the door frame, Klara, with their two-year-old affixed to her leg, the child repeating words that daddy issued from the deeps.

"Tangerine," Albert said.

This was happiness as it was meant to evolve when first conceived in caves, in mud huts on the grassy plain. Mamelah and our beautiful bambina. And his own mother, ghastly ill but here at last, murmurous, a strong and mortal presence in the house. And Albert himself in the hot bath, back from the hunt, returned to the fundamental cluster.

He summarized the meeting with Father Paulus. A slouching Klara seemed about to speak several times, the way her body begins to drag along a surface, going restless and skeptical.

"An impressive man. I want you to come along next time. Or I'll invite him here."

"He doesn't want to come here."

"Doctorate in philosophy at Yale. Graduated magna cum laude in sacred theology from some Jesuit center in Europe. Louvain, I believe," and he formed the word as a privileged utterance. "Holds a chair in the humanities at Fordham."

"But he's not inclined to help you with the boy."

"He'll help. He'll come to a match. Tangerine," he said to the child and raised his arms out of the water.

Klara lifted the girl up over the roll-rim of the tub and Albert sat up and took her under the arms, holding her upright, feet in white socks barely touching the water so she could step along the surface, laughing, making little kick-waves. And he felt like a mother seal, yes, a mother, not some raucous coughing bull or whatever the male is called-he would have to look it up.

"Do you know the old painting," he said, "that shows dozens of children playing games in some town square?"

"Hundreds actually. Two hundred anyway. Bruegel. I find it unwholesome. Why?"

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