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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I used to say to the kids. I used to hold up an object and say, The little ridged section at the bottom of the toothpaste tube. This is called the crimp.

Gleason dead but also in the room with us, Irish like her and camped in a stale sweatbox, dressed in a busman's suit, arm-waving, flailingly fat, the only person who could make her laugh. He stalked across the floor pumping his fist. You're goin' to the moon, Alice . My mother liked the familiar things best. The more often he used a line, the more she laughed. She waited for certain lines. We both waited and he never let us down. We felt more closely bound with Gleason in the room. He gave us the line, gave us the sure laugh, the one we needed at the end of the day. Gleason aggrieved. Pounding the table-top and bending his knees and tilting the great head skyward. He was the joke that carried a missing history-the fat joke, the dumb joke, the joke about the rabbi and the priest, the honeymoon joke, the dialect joke, the punch line that survives long after the joke is forgotten. We felt better with Jackie in the room, transparent in his pain, alive and dead in Arizona.

I dropped her off and picked her up and made sure she had money for the basket.

We built pyramids of waste above and below the earth. The more hazardous the waste, the deeper we tried to sink it. The word pluto-nium comes from Pluto, god of the dead and ruler of the underworld. They took him out to the marshes and wasted him as we say today, or used to say until it got changed to something else.

I liked to hurry home from the airport and get into my trunks and T-shirt. I ran along the drainage canal with Sufi voices tracking through my head and sometimes I saw a plane taking off, all light and climb and calculus, and I thought of my son Jeffrey when he was younger-the gift he thought he possessed to take an aircraft out of the sky, the mastery of space and matter, a power and control that rose damnably from the curse of unbelonging.

And sometimes I sat with her through the mass, the mass in English, what a stark thing it was, without murmur or reverberation, but still the best part of my week, and I took her arm and led her out of the church and she was not a small woman but seemed to be dwindling, passing episodically out of flesh-she felt like rice paper under my hand.

He used to shave with a towel draped over his shoulder, wearing his undershirt, his singlet, and the blade made a noise I liked to listen to, a sandpaper scrape on his heavy beard, and the brush in the shaving cup, the Gem blade and the draped towel and the hot water from the tap-heat and skill and cutting edge.

Dominus vobiscum , the priest used to say, and we'd push our way out of the vestibule, several kids chanting, Dominick go frisk 'em. What was Latin for if you couldn't reduce the formal codes to the jostled argot of the street?

It was science-fiction stuff or horror-movie stuff except that Jeff was too shy and frightened to test it in the world, even with his sister whistling in his ear to make the thing explode.

5

Brian Classic called late sometimes. He called in streaks, late at night, four calls in one weekend maybe, and what did he talk about when he called? The office, of course, bringing up matters he could not easily discuss in the tower itself, or the latest national scandal maybe, with anatomical details, or he'd carry on about a movie he wanted me to rent, guns and drugs-he thought it made us better buddies.

He also did it as a provocation. Brian believed I was safely encased, solid, with a house and family folded around me, surer than he was, older but also physically superior, physically fit, a man of hardier stuff, this was his own stated theme-a man who keeps his counsel. And it greatly fazed him, it made him want to chip away, make boyish forays, place claims on my attention.

When the phone rang at a certain hour, Marian and I exchanged the Brian look-had to be him.

" You will not believe where I am. Get over here right away. This place is astonishing. You're the only person I can bear to share it with. Come alone," he said.

It took me a while to find the place. I kept crossing MO, out where the map begins to go white, low stucco buildings with satellite dishes-tractor parts and diesel tune-ups, sand and rock and self-defense. Then I spotted a cluster of shops that matched Brian's description, a neat clean minimall, painted sort of rancho pink and green, three of the outlets not yet open for business, and I parked near the last shop on the left, the only going concern, called Condomology.

College kids, gently unkempt. They stood between the shelves talking and browsing, going through the catalogs and reading the small print on the product boxes, and others mixed in, slightly older men and women, they had professions and soft slacks with knife pleats and a certain ease of bearing and belonging, the package of attitudes and values known as lifestyle.

Brian pushed me into a corner so I could scan the area. Wide aisles, the carpeting was soft and pale and the aisles were wide and there were wall paintings, five panels on each of the two long walls showing scenes of an ice-cream parlor of the nineteen-forties and -fifties. A soda jerk behind a marble counter making a strawberry float for a couple of girls in school jerseys and bobby socks-that was one mural, flat-painted, painted in a style not current to the scene, and the effect was interesting, completely undreamy. Brian was studying my lower jaw for some reaction. I heard music in the deep distance, a crooner doing lost songs, the kind of ballad that sometimes included a verse or two in slurred Italian, and it was all nicely subdued, I thought, unaffected, without patronizing humor.

Brian whispered at me sharply, as if I hadn't noticed.

" Condoms ."

That's what it was all right, condoms, the whole place was condoms, shelves filled with a hundred kinds of protection, male and female, spermicides, body butter, latex gloves, silicone lubricants, with books, manuals, videos, special displays, with novelty items of the big-dick little-dick type, and T-shirts of course, and baseball caps with condom logos.

"And the place is strategically located, out at the new frontier," he said. "I can see a satellite city growing out from this one shop, a thousand buildings, this is my vision, sort of spoked around the condom outlet. Like some medieval town with the castle smack at the center."

"They built their castles on the periphery."

"Fuck you. Show some amazement. They have peach-flavored rubbers. And kids come here to socialize, to hang around and see what's doing. I'm waiting to hear Al Hibbler sing 'Unchained Melody' "

"Al Hibbler was good."

"Good? Fuck you good. He was amazing. You think Ray Charles is blind? Al Hibbler, that was blind. Show some response."

He led me down an aisle. My response was, Look at all these condoms. Studded, snug, ribbed, bareback. We used to say, Don't go in bareback. Meaning wear a rubber or you'll knock her up. Now there were rubbers called barebacks, electronically tested for sheerness and sensitivity.

"These will replace running shoes," Brian said. "Kids will shoot each other for expensive lambskin condoms."

There were loose condoms sold in bowls, in candy jars-grab a handful. A woman looked at a display model of a polyurethane sheath with flexible rings at either end. Brian knew her from the automated teller machine at his bank-hello, how are you, hi, hello. There were finger condoms and full-body condoms, oral condoms with a minty savor. There were condom cases, pocket-sized, and a condom you could wear as a hat.

Brian said, "My brother carried a rubber in his wallet all through adolescence. He showed it to me once, I think I was twelve. Flipped open his wallet and showed me this little wizened thing like a deflated penis and I don't think I ever recovered. This was a world I wasn't ready to enter. I could understand sex on the animal level. This was something else entirely. Something about the material, the plasticky sort of rubber, the look and touch, he made me touch it, and the whole nature and function of the thing, I don't know, it was alien and unsettling. Sex alone was tough enough to encounter. This was technology they wanted to wrap around my dick. This was mass-produced latex they used to paint battleships."

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