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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"No," I said.

It did not seem surprising, all these ghost-ship stories, even if they were only elusive hearsay, because we'd been told the night before that waste is the best-kept secret in the world. This is what Jesse Detwiler said, the garbage archaeologist who'd addressed the massed members about an hour after the tremor-an address that did not go down well with the grilled squab and baby Zen vegetables.

Our faces showed a pristine alertness, back there at cocktail time, when the room shook around us. It was a look that trailed a self-awareness in its wake, a sheepish sense of our own glimpsed fear, of being caught unaware, just before we gained control, and this is the face that traveled through the suite, above the vodka tonics, creating an ironic bond among the managers, in the indoor wind.

We saw Detwiler in the lobby after we paid the bill. Sims went over and collared him, literally, got him in a headlock and mock-pummeled his shaved dome. They were acquaintances, it seemed, and the three of us made a date to drive out to a landfill that Sims had designed, a massive project still in development.

A man and woman walked across the lobby and I watched her carefully. Maybe it was the hip-sprung way she moved, high-assed and shiny, alert to surfaces, like a character in a B movie soaked in alimony and gin. I went over and checked the schedule of events on the easeled board near the revolving doors, registration and coffee, licensing laws, spent fuel storage, all the topics and speakers in movable white type, ten to twelve and two to five and on into the night, and I thought about the swingers and their arrangements.

Whiz Co was a firm with an inside track to the future. The Future of Waste. This was the name we gave our conference in the desert. The meeting was industry-wide but we were the firm that provided the motive force, we were the front-runners, the go-getters, the guys who were ready to understand the true dimensions of the subject.

I was in my early forties, hired away from a thin-blooded job as a corporate speechwriter and public relations aide, and I was ready for something new, for a faith to embrace.

Corporations are great and appalling things. They take you and shape you in nearly nothing flat, twist and swivel you. And they do it without overt persuasion, they do it with smiles and nods, a collective inflection of the voice. You stand at the head of a corridor and by the time you walk to the far end you have adopted the comprehensive philosophy of the firm, the Weltanschauung . I use this grave and layered word because somewhere in its depths there is a whisper of mystical contemplation that seems totally appropriate to the subject of waste.

I went running with Big Sims and we ran along trails that hikers used, backpackers with rugged boots, and we ran on bridle paths that went into the hills. We wore sunglasses and peaked caps and ran on stony rubble and red sand and Sims didn't stop talking, he talked and ran across the desert scrub and I labored to keep up.

" You know, it's funny, I took this job four years ago and it's a good job and pays well and has the benefits and provides for my widow when I die from overwork but I find-you find this, Nick? From the first day I find that everything I see is garbage. I studied engineering. I didn't study garbage. I thought I might go to Tunisia and build roads. I had a romantic idea, you know, wear a safari jacket and pave the world. Turns out I'm doing fine. I'm doing real work, important work. Landfills are important. Trouble is, the job follows me. The subject follows me. I went to a new restaurant last week, nice new place, you know, and I find myself looking at scraps of food on people's plates. Leftovers. I see butts in ashtrays. And when we get outside."

" You see it everywhere because it is everywhere."

"But I didn't see it before."

"You're enlightened now. Be grateful," I said.

Our sneakers were flimsy things against the slabstone and tuff. We ran on trails littered with straw shit from the rented horses and we ran gasping and panting, panting as we talked, and the sweat came down Sims' face in intersecting streams. I kept up with him. It was necessary to keep up, keep running, show you can talk while you run, show you can run, you can keep up. The sweat came down our bodies and plastered our shirts to our backs.

"We get outside and we're waiting. The guy's bringing our car around. I peer into the alley meanwhile. And I see something curious. An enclosure, a barred enclosure set along the wall. A cage basically. Three sides and a top. Wrought iron bars and a big padlock." He's talking and pausing, the words are pumping out of his chest. 'And I have to step a little ways into the alley. Before I can see exactly what this is. And I smell it before I see it. The cage is filled with bags of garbage. Food waste in plastic bags. A day and a night of restaurant garbage."

He was looking at me as we ran.

"Why do they cage it?" I said.

He looked at me,

"Derelicts come out of the park and eat it."

We turned back toward the compound of rose stucco buildings burning in the light. It was not easy keeping pace with Sims. He had the plodding force of a fleshy ex-boxer who still has reserves of deep endurance, oil reserves, fossil fuel-he had calories to burn, sweat to yield in abundance.

"Why won't the restaurant let them eat the garbage?"

"Because it's property," he said.

Five fighter jets went over in tight formation, flying low, a haunted roar spilling through the valley, and Sims jerked his thumb at the sky as if to signal something that had slipped my mind.

I kept seeing my own face of the evening before, when the fiver shook the room, all the work it took to reconcile the forces that pressed against each other.

We pounded down past the golf course and guest cottages, a cropped world of people in soft pastels, alive by the handful, by the orderly foursome, and I felt relieved the run was nearly over.

"Ask me about the ship," he said.

"Is the ship Liberian register?"

"It was when it started out. I hear it's registered in Panama now."

"Is that possible? Change registry in midcourse?"

"I don't know. It's not my area," Sims said. "But the rumors about the ship don't only concern what the ship is carrying in its hold. Or who owns the ship. Or where the ship is headed."

"Okay, what else is there?"

"Is this an ordinary cargo ship? Or is there some degree of confusion about this?"

"What kind of ship would it be if it carries cargo but isn't a cargo ship?"

"Remind me to give you a lesson in sludge sometime."

He laughed and ran, capering a little, bop-running, elbows out and fingers snapping, and he surged ahead of me. I felt a flare of competition, a duress of the spirit that warns against the shame of losing, and I hurried to catch up.

And interesting that later this business of picking through garbage, old winos and runaway kids slipping into an alley to get at broken bread chunks and slivers of veiny beef-later, with Detwiler, the subject would reoccur, but differently, with a touch of the renegade theater of the sixties.

The three of us went out to the landfill in the early evening, half an hour's drive to the east, some of this on roads restricted to military use. Sims had a permit that allowed entry at select times, an arrangement worked out between Whiz Co and some agency buried in the Pentagon, and this saved us the trouble of taking the long way around.

The construction crew had gone for the day. We stood above a hole in the earth, an engineered crater five hundred feet deep, maybe a mile across, strewn with snub-nosed machines along the terraced stretches and covered across much of the sloped bottom by an immense shimmering sheet, a polyethylene skin, silvery blue, that caught cloudmotion and rolled in the wind. I was taken by surprise. The sight of this thing, the enormous gouged bowl lined with artful plastic, was the first material sign I'd had that this was a business of a certain drastic grandeur, even a kind of greatness, maybe-the red-tailed hawks transparent in the setting sun and the spring stalks of yucca tall as wishing wands and this high-density membrane that was oddly and equally beautiful in a way, a prophylactic device, a gas-control system, and the crater it layered that would accept thousands of tons of garbage a day, your trash and mine, for desert burial. I listened to Sims recite the numbers, how much methane we would recover to light how many homes, and I felt a weird elation, a loyalty to the company and the cause.

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