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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Some women have one man in their life and he was the one, that bastard, in hers.

Mr. Imperato liked to joke about our famous forefathers. Abraham Linguin' and George Washingmachine.

In warmer weather Matty sat at the board in his beeveedees, how little he looked, so thin and pale, but his eyes were fixed on the pieces so hard and hot she could easily think there was someone else in there, sent to possess the boy.

The trick was, the thing was he was not the center of the family when he was here. She was the center, the still center, the strength. Now that he was gone, she could no longer make herself feel still, or especially central. Jimmy was central now. That was the trick, the strange thing. Jimmy was the heartbeat, the missing heartbeat.

It was a promise that was also a call to duty. Tell him I'm making gravy.

They said, See what you're gonna do.

This was a threat to a son or daughter who was not behaving. Straighten out. Change your attitude. See what you're gonna do.

They said, Who's better than me?

This was a statement of the importance of small pleasures. A meal, a coat with a fake-fur collar, a chair in front of a fan on a hot day.

It did not happen violent. It was the small thing of a weak man walking out the door. It was not big. It was not men with guns who tie paving stones to someone's ankles and put a bullet in his head. It was small and weak.

If you could feel the soul of an experience, then you earned the right to say, Who's better than me?

Jimmy knew some dialect. Abruzzese . He used to take the knives down and talk to the knife grinder and he found it satisfying to use the dialect. They talked while the man sharpened the knives and it was something Jimmy did not do with men he saw more often who came from the same region, or their people did. He talked to the knife grinder because he saw him only rarely and this was an arrangement he preferred.

They called her Rose. They had assurance and force, most of them, they had nerve and personality and loud voices, not all but most.

She did her beadwork, her piecework, working off the books just like Jimmy.

He slept continuous. Never got up in the night. Drank coffee and slept right through. Didn't seem to feel the cold. Walked barefoot on the cold floors, slept in his shorts on those winter nights when she'd finally hear the heat whistling in the pipes, her signal to get up for mass.

Somebody put serious money on a horse called Terra Firma and he began to worry when it finished first.

She listened to Matty analyze a position. They stopped the game occasionally and talked out the moves.

He was not a braggadocio. He told sly quiet stories late at night.

Conceal, conceal. But it was hard.

The baseball man Charlie Dressen was a horseplayer. Jimmy took his bets. He took bets from Toots Shor. He left seven hundred dollars in a coat that she took to the dry cleaner. The coat was his private bank, only he never told her, and she took it to the dry cleaner and went back when she found out about the money and they said, What money, lady? There was an inside pocket she didn't know was there. What money, lady?

She applied the beads with a wood-handled needle, following the design printed on the fabric.

But how is it we did so much laughing? How is it we went dancing the night of the seven hundred dollars and we laughed and drank?

He was not a harum-scarum guy who took crazy chances but the long shot came in and he began to feel the pressure to pay off.

Who's better than me, they said.

This was a statement she couldn't make, partly out of personality but also because she could not feel the ordinary contentment of things the way she used to. She could not feel favored or charmed.

He'd replaced her life with his leaving. The voice running through her head was not the voice she used to hear before he left.

But how is it we ate a German meal on 86th Street and went dancing at the Corso down the block, seven hundred dollars poorer?

There was less of her now and more of other people. She was becoming other people. Maybe that's why they called her Rose.

Nick was walking the halls at school. This close to Christmas the Catholic school kids were already off, Matty was off, the shopping area was decorated with lights and wreaths, the merchants were putting out trees at five in the morning, which you could smell from a distance, and there were eels on sale for Christmas Eve and spruce and balsam fir stacked against the walls, from upstate, and kids unloading crates of grapes from California for customers who made their own wine.

Nick wandered the halls smoking and Remo came out of a classroom wearing tight pegged pants and the Eisenhower jacket he never took off.

"What are you doing here?"

"Taking a walk," Nick said.

" You take walks indoors?"

" You been out? Fucking freezing. What are you doing here?"

"Hey. I go to school here. What are you doing here?"

"Talking a walk," Nick said.

"I got a pass to see the doctor."

"The nurse. That's who you want to see."

"Save me a drag," Remo said.

"Where's home economics?"

"I don't know. The end of that hall maybe. I hear you're working."

"Ice-cream plant."

"Pays decent?"

"Forget about it."

"It's steady then?"

" You have to shape up. Like the docks," Nick said, and he felt like a man, saying this. " A guy says, You, you , you, you. Everybody else goes home."

Remo seemed impressed.

"You get to eat the merchandise?"

"Actually, you want to know the truth."

"What?"

"We steal it and sell it. But we have to work fast."

Remo didn't know whether to believe this. He reached for the butt-end of Nick's cigarette and Nick gave it to him and he took two hungry drags and then dropped it, stomped it, exhaled and went into the doctor's office.

After the bell rang and the classrooms emptied out Nick spotted Loretta and Gloria and they walked out onto Fordham Road together.

"Allie's father hit a number," Gloria said.

"I know. I heard."

"He had five dollars on it if you can believe that."

"It's true. I know it for a fact," Nick said.

An older guy named Jasper, a noted cuntman, sat in a Ford convertible, with the top down yet, in this weather, motor running, listening to the radio. The two girls were quiet walking by, quiet together, by mutual consent, exchanging unspoken thoughts about Jasper.

"Who puts five dollars?" Loretta said. "They put fifty cents. They put a dollar if they're feeling very, very lucky."

"He had a dream," Nick said.

"He had a dream. What kind of dream?"

"What kind of dream. He dreamed the number. What else would he dream?"

"For five dollars," she said, "it must have been very convincing."

"It was in technicolor," Gloria said.

"If I dream a number I think I'm gonna die on that date," Loretta said. "This man gives five dollars to a gangster."

"Gangster. What kind of gangster? He gave the money to Annette Esposito."

"Who's that?"

"She's a Catholic school girl. She goes to my brother's school," Nick said. "She runs numbers for her father. Every day she makes the rounds."

"In her school uniform," Gloria said.

"The customers like a runner they can trust."

They walked past White Castle, where kids were eating sawdust hamburgers, and then Gloria crossed the street and went into her building.

"Where's your radio? You used to carry your radio all the time," Loretta said.

"I had a radio in my car. That's the only radio I needed."

"It's for the best," she said.

"You think it's for the best."

"I'm relieved," she said. "That car, my god. What wasn't wrong with it? Not to mention it was stolen property."

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