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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"They come out of the bowling alley. Then they go over to the window and order whatever they order."

"Ever seen them before?"

"Here? They never been here."

The two guys put their paper cups back on the counter and walked toward Third Avenue and Nick and Grasso followed, with the dog trailing. The guys knew there was someone behind them. Not that they turned. But Nick saw the way they stopped talking and the way their stride seemed, maybe, to tighten a little.

"What's it say on the jackets?"

"Hawks, I think."

"Ever hear of them?" Nick said.

"Never. Hawks? What fucking Hawks? Plus I don't think it's a team. I think it's a gang."

They went past the funeral home and walked a block and a half along Third Avenue through the slatted shadows of the el and then the two guys stopped and turned around.

Nick and Grasso walked up to them.

"Hawks? What's Hawks?" Grasso said.

They didn't answer. One guy ready, the other still thinking about it.

"You live here, the Hawks? Because I don't think I seen any Hawks before."

They didn't answer.

The dog caught up to them and began to go nose-twitching around the feet of one of the guys.

"It's better, you know, at night especially, if you stay where you belong. In the day too," Grasso said. "But at night especially because otherwise people get the wrong idea."

The train passed over with a great staccato clatter and they all waited until it was past. But then the two guys didn't say anything.

"I still don't know what's Hawks. I aksed nice. But I don't hear no explanation."

Cars creeping around the el pillars when they made a turn. And Mike the Dog sniffing at the guy's shoe and the guy sort of flicking the shoe, doing a little foot-jerk that made the dog back off, and Nick stepped up and punched him.

A car stopped in the middle of a turn.

Nick stepped up and hit the guy once, a fair to good shot that caught him on the temple when he tried to duck under, and this car came to a sudden stop and four guys got out and left the doors hanging open of this car just stopped in the middle of the street.

They were guys from the other poolroom, Turk and his fuckface friends, and one of the black guys started running but the other one stood there and glared, six white guys and a brown dog more or less surrounding him.

Nick half smiled at Turk.

"He kicked my dog," he said.

The one still here was the one he'd hit and he was looking at Nick, glaring, and Nick shrugged and smiled and the guy turned and walked away slowly and the four other guys took a breath and hitched their pants and got back in the car. The doors closed bangedy bang and the car drove off.

Grasso said, "Fucking Turk."

"I know."

"Thinks he's king shit walking the earth."

"I know," Nick said.

"Where'd you get that animal?"

"Lives at Mike's."

"I never seen an animal so ugly."

Nick faked a punch to the guy's head and they walked back to the lighted streets with the roar of the el behind them.

About a month later the man was back in the poolroom, standing at the counter late one night, with Mike, they're eating baked ziti out of tin plates.

Mike flashed the light over the table where Nick was playing.

When Nick looked up he said, "Come over here."

Nick walked over with a self-conscious saunter like he was about to meet his future father-in-law.

"Mario here, he wants to say something you should listen to. Mario knew your father just after the war. During the war and after the war."

Badalato was standing with his back to the room and Nick went around the counter, where Mike was standing, behind the counter, so he could face the man.

They had glasses of wine, which Nick had never seen in here, and they had a canister of red pepper they passed back and forth, eating standing up, every forkful of ziti trailing long strands of mozzareir.

"I knew your father. Jimmy. I liked Jimmy."

Nick could not fail to understand the consequence of the moment, a man of this particular life who is going to talk to him about his father.

"Mike told me. He said, Jimmy's son he comes in here. Jimmy Costanza. I said, I haven't heard this name in a while. I liked Jimmy, I said."

And the consequence of the man himself, the thick hands and dark brows and thick hair and the slightly flattened nose, like a boxer's.

"I said. What did I say? Jimmy had a talent, this guy, he's mister invisible."

Nick could not fail to understand the weight of the occasion. But he was also wary of it, he was hesitant, he wanted to say something unsolemn because anything about his father made him apprehensive.

"The way I understand it from Mike, you think your father had no choice in the matter. How he left. How he disappeared. Somebody put him in a car. This is what you think, as his son, is what happened to the man. And they drove him somewheres. But I have to tell you one thing."

Badalato took a sip of wine from the low squarish glass.

"Nothing could of been done to your father without me knowing about it. I have to tell you this. I would of known. And even if I don't know beforehand, which isn't about to happen, but even if it did, then I find out later. I would of heard. You understand what I'm saying? It's not possible this could happen without me knowing about it sooner or later."

The warm smell of the food was making Nick hungry and he couldn't help wondering how the food could be carried here from a restaurant still steaming hot.

"I liked your father. I don't think Jimmy had serious enemies. He owed money, so what? If somebody owes you money, you work out an arrangement. There are ways to do these things where you use simple business methods, the way Mike runs a business, the way a haberdasher runs a business. You buy a suit, you pay so much down, so much a month. You buy a car and so forth."

The man looked at Nick while he spoke. He didn't sound superior or offhand. He wanted to make an honest connection and get his point across.

"Jimmy was not in a position where he could offend somebody so bad that they would go out of their way to do something. No disrespect but he was penny-ante. He had a very small operation he was running. Made the rounds of the small bettors. Mostly very small these bets. This is what he did. Factory sweepers and so forth. You have to understand. Jimmy was not in a position to be threatened by serious people."

Nick watched him take a bite of food. He could not help feeling grateful. The man stood there and talked to him. The man took time to tell him something he thought would settle the matter in Nick's own mind.

"I appreciate," he said.

"I liked your father. And I know what it's like, myself, to lose a father at an early age. From cancer this was."

"Your taking the time. I appreciate."

"Forget about it. Go finish your game," the man said.

Nick shll had the pool stick in his hand. He gestured toward the light over the table.

"Mike, tell me you're not gonna charge me for the time you guys spent eating ziti."

The men enjoyed that. He went back to the table and finished the game with Stevie and Ray. They wanted to know what he'd been talking about with the guys at the counter.

He thought of a half-ass joke but then said nothing.

He was grateful for the time, genuinely, but he didn't think he had to accept the logic of the argument. The logic, he decided, did not impress him.

They played cards down there, pinochle, and drank homemade wine, in the room under the shoemaker's shop, off the dim passageway that led out to the yards.

Bronzini looked on, sitting in when someone left but otherwise a kibitzer, unmeddlesome, content to savor the company and try the wine, sometimes good, sometimes overfermented, better used to spike a salad.

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