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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Alone in her room she wore a plain shift and read "The Raven." She read it many times, memorizing the lines. She wanted to recite the poem to her class when school reopened. Her namesake poet, yes, and the dark croaking poem that made her feel Edgarish again, contoured, shaped, bevoiced, in the absence of her boys and girls.

Her fan mags were stacked in the closet. There was a picture of Jesus propped on the candlestand. A small mirror used to hang above the washbasin but she took it down because it disconcerted Sister to see herself unveiled. Hair, neck, shoulders, full face-these were things she'd left behind to enter sisterhood. The shock of the body, revealed. The subsistence individual, with cropped hair and bony shoulders. This was a sight to guard against, starker, even, than the empty classrooms of summer.

She memorized the lines and worked the rhythms and repetitions. She paced the floor, organizing a system of gesture and inflection. The sixth grade was hers and she wanted to scare the kids a little. She was their nun for the year, drilling them in eight subjects. A drawing teacher came every two weeks and a music teacher likewise, with a pitch pipe and a fruity perfume. All the rest was Sister.

She even gave them marks in Health, based on days absent and late, and times requesting trips to the lavatory, and amount of dirt and grime stuck under their fingernails and squeezed into the creases of their palms.

And she wanted to teach them fear. This was the secret heart of her curriculum and it would begin with the poem, with omen, loneliness and death, and she would make them shake in their back-to-school shoes.

She paced the floor and walked the empty halls and memorized the lines. Soon they'd come back, uniforms blue and white, notebooks crisp, fountain pens filled, schoolbags swinging from their soft fists, and she would arrange them along the walls in size places and she would seat them in alphabetical order and she would inspect their hands and nails and crack their palms with a ruler when it was called for.

They would know who she was and so would she.

And she would recite the poem to them, crooking her finger at their hearts. She would become the poem and the raven both, the roman-nosed bird, gliding out of the timeless sky and diving down upon them.

These summer nights the women on the upper floors could not wash the dishes because the johnny pump was on, kids dancing under the fanned spray, and there wasn't enough pressure to move water through the building.

All movement toward the air, the night, heads sticking out windows, women eating peaches in darkened windows, laughing in the dark up there, women waiting to feel a breeze and men in undershirts down on the stoops with radios going, a ball game from breezy Cleveland.

Kids running, sweating, shirtless, a kid with a boxful of bared ribs down the front of his body. Other kids on line at the rear of the Bungalow Bar truck, fudgsicles and orange pops, and there is the kid with ink on his tongue, there is always a kid with an inky tongue. Waterman's blue-black. What does he do, drink the stuff?

Women on the porch of a private house, sitting in the dark talking.

Older kids on rented bikes, ten cents an hour, and girls riding with some of the boys, sitting sidewise on the crossbar, and the boys riding into the gushing water, making everybody happy, the stoop sitters, the window heads, the shrieking girls on the bikes and the smaller kids who separate to let the bikes pass, all happy together, and finally the kid in his brother's bathing suit who holds a coffee can at the nozzle to flare the stream of water, geyser it high and wide.

Later the young men will stand on corners smoking as the lights go out, bullshitting the night away, and people will sleep on fire escapes, here and there, because there's a breath of air outside. Finalmente. A little bitty breeze that changes everything.

Nick sat reading a magazine with the hollow knocks volleying back from the far wall, across eight lanes.

"Nicky, what's the word?"

"Hey Jack. You're a married man, I hear."

"Went and did it. No regrets."

"She lets you out to bowl?"

"Only to bowl," Jack said.

Lonzo was crouched down there at the end of the alley, about the only black person you could see, regular, in a radius of five or six blocks. He was an ageless man, hard to tell if he was twenty-five or forty-five, and he worked setting up pins, just about every night, soft-footed, fine-featured and slightly out of tune. A little stunat' , Lonzo, and they were careful not to treat him badly, the regulars at the alley, because he wore the same clothes for many days and nights and seemed to have no regular place to sleep and carried a whiskey-stink sometimes, soft-footing past the counter on his way to the lanes.

Juju came in and sat next to Nick.

"What's the word?"

"Your turn's coming," Nick said. "I see you married with three kids. Getting paunchy and going bald."

"Come on, we bowl a few lines."

"Forget about it. Not my sport. She'll let you out to bowl once a week."

"People get married and have kids. This is not normal?"

"Bowling, to me, it's like lifting weights."

"Do me a favor."

"It's something I rather be bad at it than good at it."

"But do me this one little favor."

"Because being good at it means there's something wrong with you."

"Forget I mentioned it, all right?"

"I rather die the death of a thousand cuts."

"Everytime you see a Charlie Chan movie. Which, come to think of it, don't you owe me five bucks from the last time we bowled?"

"It's a brouch," Nick told him.

"How come?"

"Because I'm not trying to win. Because winning insults my dignity. Beat me in pool I'll pay you the five dollars. Otherwise ugazz . I'm pulling a brouch."

The regulars taunted each other constantly and said things to the girls who showed up now and then and they always looked a little narrow at strangers walking in. But they were careful to be patient with ageless Lonzo even when he was slow or clumsy setting up the pins, a birdlike figure hunched aloft down there at the end of the lanes, white-eyed in the spatter of flying wood.

Juju found someone to bowl with and after a while Nick put down the magazine and left.

"Hey. Be good okay?"

"Be good, Jack."

"Be good."

"Be good," Nick said.

It was dark and quiet now and he went up the narrow street toward his building but then swung into a gateway on an impulse and went down the steps and into the yards.

There was no light in the outer passage and he felt along the walls for the door that led inside. He smelled wet stone where the super had hosed the floors. He went inside and walked past the furnace room to the door at the end of the passage.

He still felt uneasy about the basement room, about the needle and strap and spoon, but it was passing little by little into faded time, half lost in the weave of a thousand things.

George was in the room all right, playing solitaire.

"I thought you might be here."

"Cool down here."

"That's what I thought," Nick said.

George gathered and stacked the cards and shuffled them. Nick sat across the table and George dealt out three to a man and turned over a club trump and they started playing a game.

"The trouble with cards, when you play for money," George said, "and you concentrate on all those numbers and colors for hours and hours, a poker game into the morning, you can't fucking sleep when you go home."

"Your mind's too active."

"Ibu can't fucking no-way sleep."

"Your brain is racing."

"But we play a little friendly game of briscola . Maybe I can sleep in an hour or two."

"You have trouble, normally, sleeping?"

"I have trouble sleeping. I also have trouble staying awake."

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