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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When he finished the towers Sabato Rodia gave away the land and all the art that was on it. He left Watts and went away, he said, to die. The work he did is a kind of swirling free-souled noise, a jazz cathedral, and the power of the thing, for me, the deep disturbance, was that my own ghost father was living in the walls.

The waitress brought a chilled fork for my lifestyle salad. Big Sims was eating a cheeseburger with three kinds of cheddar, each described in detail on the menu. There was a crack in the wall from the tremor of the day before and when Sims laughed I saw his mouth cat's-cradled with filaments of gleaming cheese.

We heard the test flights shrieking out of Edwards. Sims said they had aircraft that bounced off the edge of space and came back born-again.

We were at Mojave Springs, a conference center some distance from Los Angeles. I'd recently gone to work for Waste Containment, known in the industry as Whiz Co, and I was here in the spirit of freshmen orientation, to adjust to the language and customs, and my unofficial advisor was Simeon Biggs, a landfill engineer who'd been with the firm for four or five years. There were a number of waste-handling firms represented at the Springs and we were sharing seminar space with a smaller and more committed group, forty married couples who were here to trade sexual partners and talk about their feelings. We were the waste managers, they were the swingers, and they made us feel self-conscious.

Sims said, "The ship's been out there, sailing port to port, it's almost two years now."

"And what? They won't accept the cargo?"

"Country after country."

"How toxic is the cargo?"

"I hear rumors," he said. "This isn't my area of course. Happens in some back room in our New York office. It's a folk tale about a spectral ship. The Flying Liberian."

"I thought terrible substances were dumped routinely in LDCs."

An LDC, I'd just found out, was a less developed country in the language of banks and other global entities.

"Those little dark-skinned countries. Yes, it's a nasty business that's getting bigger all the time. A country will take a fee amounting to four times its gross national product to accept a shipment of toxic waste. What happens after that? We don't want to know."

"All right. But what makes this cargo unacceptable? And why don't we know what the shipment actually consists of?"

"Maybe we're trying to spare ourselves a certain amount of embarrassment," Sims said.

The tremor had hit at cocktail time when I was standing in the hospitality suite with a number of colleagues, who peered over their drinks in the slow lean of the world. The room whistled and groaned. I worked at controlling the look on my face, waiting for the situation to define itself. It was not a mild shock. It was in the middle fives, we later learned, a five point four, and I felt justified in my sense of potential alarm, seeing the crack in the restaurant wall when we sat down to lunch.

" You think what, it's a drug shipment? Disguised as toxic waste? Because I hear rumors too."

"Tell me about it," Sims said.

He sat across the table, meat face and wide body, the jut underlip, the odd little unlobed ears, round and perfectly worked, the tiny mannered ears of a sprite child.

"I'm eager to hear your version," he said, a trace of sweet condescension in his voice.

"One, it's a heroin shipment, which makes no sense. Two, it's incinerator ash from the New York area. Industrial grade mainly. Twenty million pounds. Arsenic, copper, lead, mercury."

"Dioxins," Sims said agreeably, biting into the middle of his mesquite-grilled beef.

Four couples took the round table nearby and Sims and I observed a pause. We wanted to be amused and slightly derisive. These were swingers, of course, dressed assertively, in the third person, and they leaned back in sequence when the boy poured water.

"They take time out for lunch. I respect that," Sims said.

"I hear things about the ship."

"The ship keeps changing names. 'Vbu hear that?"

"No, I don't."

"The ship left a pier on the Hudson River with one name, I don't know what it was but it got changed three months later off the West African coast. Then they changed it again. This was somewhere in the Philippines."

"Enormous quantities of heroin, I hear. But why would heroin get shipped from the U.S. to the Far East? Makes no sense."

"Makes no sense," Sims said. "Except it ties in with another rumor. You know this rumor?"

"I don't think so."

"Mob-owned."

He liked saying this, he rounded out the words, popped his eyes a little.

"What's mob-owned?"

"The company that owns the ships we lease. The mob has a lot of involvement in waste carting. So why not waste handling, waste shipment, waste everything?"

"There's a word in Italian," I said.

"Maybe it's not just the shipping company. Maybe it's our company. We're mob-owned. They're a silent partner. Or they own us outright."

He liked saying this even more. Not that he believed it. He didn't believe it for half a second but he wanted me to believe it, or entertain the thought, so he could ridicule me. He had a hard grin that mocked whatever facile sentiments you might be tempted to shelter in the name of your personal conspiracy credo.

"There's a word in Italian. Dietrologia . It means the science of what is behind something. A suspicious event. The science of what is behind an event."

"They need this science. I don't need it."

"I don't need it either. I'm just telling you."

"I'm an American. I go to ball games," he said.

"The science of dark forces. Evidently they feel this science is legitimate enough to require a name."

"People who need this science, I would make an effort to tell them we have real sciences, hard sciences, we don't need imaginary ones."

"I'm just telling you the word. I agree with you, Sims. But the word exists."

"There's always a word. There's probably a museum too. The Museum of Dark Forces. They have ten thousand blurry photographs. Or did the Mafia blow it up?"

This is where Sims laughed, showing a mouth crisscrossed with cheddar.

I checked the round table. Two of the women smoked. Two of the women wore studded western vests. One was nearsighted, sticking her head in the menu, and one had an accent I couldn't place. All the women were ornamented, decked in chains, bracelets and breastpins, in hoop earrings with bead pendants, jewelry with a hammered look, a pounded look, and one chewed a carrot stick and talked about her kids.

" You know Italian?" he said.

"I studied Latin for a while. In school, then on my own, pretty intensively. And dabbled in German and Italian."

"My wife is German," he said. "Met her when I was stationed there."

"A GI with a swagger."

"That pretty much says it. Except I was Air Force."

"She speaks German around the house?"

"A little bit. Yeah. Quite a lot."

" You understand?"

"I better understand," he said.

The men wore broad-collared print shirts unbuttoned to the thorax. The men were all hair. Not the protest hair of the sixties of course. Chest hair, mustaches, brushy sideburns, great heads of Hollywood hair-real hair that resembled toupees in bad taste, wish-fulfilling rugtops, sort of spit-curled and heavily surfed.

Big Sims called for the check.

"But we like our jobs, don't we, Nick? Whoever owns the ships we use."

"I like my job."

"I like my job."

His sport coat was draped over the back of his chair, too broad to fit snugly over the palmettes that adorned the top rail. He wore a white short-sleeved shirt with a dark tie and a tie clip shaped like a scimitar.

He gave me a tight-eyed look.

"Want to go to a Dodger game?"

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