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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In the bronze tower a fellow executive cleared his throat and I heard something go by in the small hoarse noise, a secret linger of childhood, the game he played inside his life. Maybe it was a hundred and eight degrees out on the street. He was spying on himself. The third person watches the first person. The "he" spies on the "I." The "he" knows things the "I" can't bear to think about. Maybe it was a hundred and ten, a hundred and twelve, telephones warbling in modulated phrases. The third person sends his nobody to kill the first person's somebody.

I used to say when they were small. I told them more than once. This is the washer, this is the packing, this is the spout.

In the bronze tower we used the rhetoric of aggrieved minorities to prevent legislation that would hurt our business. Arthur Blessing believed, our CEO, that true feeling flows upward from the streets, fully accessible to corporate adaptation. We learned how to complain, how to appropriate the language of victimization. Arthur listened to gangsta rap on the car radio every morning. Songs about getting mad and getting laid and getting even, taking what's rightfully ours by violent means if necessary. He believed this was the only form of address that made an impact on Washington. Arthur recited lyrics to me once on the company plane and together we laughed his wacko laugh, those enunciated ha-has, clear and slow and well spaced, like laughing with words.

Coming home I liked to put suntan lotion on my arms, face and legs and go running down the quiet streets of oleanders and palms and along the drainage canal banked with red dirt. I ran in dense heat and strong light and I thought about the protection factor bumping up to sixty now, I wondered about this even though I'm olive-skinned, dark as my old man-from fifteen to thirty to sixty, where once upon a time a factor fifteen was the absolute maximum sunblock scientifically possible. Running past tree trunks limed white against the unrelenting sun.

You have to cut it thick. That's what he said about the bread, the round crusty loaf he called Campobasso bread, after the name of the store, which itself was named for a mountain town on the spine of Italy. The best bread, you cut it too thin, he said, it's worthless. I watched him shave and I watched him cut bread, holding the loaf on its side with one hand, thumb of the other hand, the knife hand, edged over the haft onto the back of the blade to guide the slicing, down through the crust and into the springy middle of the bread.

When Lainie had her baby, her girl, I felt a soft joy settle in my chest. Or a solace, maybe, an easing of some perennial clutch or grab, some taunt of malehood. All these women now, from my mother in her pale green room to this raw arrival kicking in mortal fret, all gathered near the chimneypiece. It was a kindness that the child should be a girl. I felt an expansive ease, an unthrobbing of some knot in my body. I watched her naked in her mother's arms, swimming in a ribbon of light.

Tuesdays only we did plastic, minus caps and lids. Waste is an interesting word that you can trace through Old English and Old Norse back to the Latin, finding such derivatives as empty, void, vanish and devastate.

Residents of Phoenix are called Phoenicians.

They talked about the things I did not talk about, although I told her about the stolen car, and we said to each other, Marian and I, we said if people ever saw our son in the commission of a crime they wouldn't know how to describe him except for his skin color and the jokey sticker fastened to the rear bumper of his Honda, if in fact his Honda was an element in the crime, the bumper sticker someone gave him- Going Nowhere Fast .

Marian and I saw products as garbage even when they sat gleaming on store shelves, yet unbought. We didn't say, What kind of casserole will that make? We said, What kind of garbage will that make? Safe, clean, neat, easily disposed of? Can the package be recycled and come back as a tawny envelope that is difficult to lick closed? First we saw the garbage, then we saw the product as food or lightbulbs or dandruff shampoo. How does it measure up as waste, we asked. We asked whether it is responsible to eat a certain item if the package the item comes in will live a million years.

According to street legend he never wrote a number on a piece of paper.

Night after night we sat in the stale glow, my mother and I, and watched reruns of "The Honeymooners." Ralph Kramden wailing his unstoppable pain. Maybe my mother identified with wife Alice. The apron and cloth coat and underfurnished flat and food smells in the hallway. But Alice had a bus-driver husband who kept walking in the door instead of going out. He drove a vehicle licensed by society. And Ralph and Alice had no kids to worry and torment them. You had the kids without the husband. Not even a body risen from the rock-weed and found floating by two guys early one Sunday in a rented row-boat with a cage for trapping crabs-the nibbled body of Jimmy Costanza, age whatever.

I went back to the coastal lowlands of Texas and did an interview with the BBC wearing a hard hat and miner's lamp and standing in a salt passage two thousand feet under the earth. The producer stood off camera and asked questions and I tasted salt dust stirred up by the forklifts and tried to frame responses that would please her.

You had the man who did the job unlicensed by society. In the hallways and alleys you heard the footfalls at night and must have wondered if that was Jimmy coming back. From the dead or the dark or maybe just New Jersey. And that was you dressing quickly at first light before the heat came whistling up the pipes-early mass among the Italians in their graveclothes. You had the kids with their taut nerves, the little woodpushing wonder who was harder to love than a handful of coffee dregs. Alone those cold mornings going to mass. And the older son with his distance and dimmed moods and undimmed rage, up on the roof in the evening sleet to smoke a cigarette.

I look at the Lucky Strike logotype and I think target.

I watched men in moon suits bury drums of nuclear waste and I thought of the living rocks down there, the subterrane process, the half-life, the atoms that decay to half the original number. The most common isotope of uranium is bombarded with neutrons to produce plutonium that fissions, if we can generate a verb from the energy of splitting atoms. This isotope has the mass number two three eight. Add the digits and you get thirteen.

But the bombs were not released. I remember Klara Sax talking about the men who flew the strategic bombers as we all stood listening in the long low structure of sectioned concrete. The missiles remained in the rotary launchers. The men came back and the cities were not destroyed.

7

Marian leaned into me and laughed, watching the land surface expand around us. It was first light, a foil shimmer at desert's edge. At three hundred feet we caught a mild westerly and drifted toward the eyelid slice of sun. But we didn't think we were moving. We thought the land was gliding by beneath us, showing a cluster of mobile homes, a truck on a blacktop to the south. And dogs barking up at us-they barked and leaped and ran yapping into each other as we strayed across the trailer park, passed from dog to dog, new dogs appearing at the fringes, twisting in midleap, dogs from nowhere, multiplying yaps and howls, a contagion to wake the known world.

Then we were out over open earth, bone brown and deep in shadow, and we hung in the soft air, balanced in some unbodied lull, with a measure of creation spilling past.

The pilot yanked the blast valve and we heard the burners pulse and roar and this made Marian laugh again. She talked and laughed incessantly, happy and scared. The basket was not large, barely taking the three of us plus tanks, valves, wires, instruments and coiled rope.

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