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 was the juniormost fellow with the fixed smile. There was a spirit of generous welcome, the spirit of one-of-us and how-many-kids and letVhave-lunch. I wanted to be bound to the company. I felt com-plicit with some unspoken function of the corporation. I stayed late and worked weekends. I corrected my foot-drag step. I heard my own voice and saw my smile and earned an office at the end of the hall, where I wore a crisp gray suit and grew stronger by the day.

It was a long run through a narrow draw on the last day of the conference and we jostled for space, Sims and I, just beginning to forget the tremor in the fives and the way the room spoke to us, and I thought this is when we get the aftershock, after we forget the shock.

The first part of the run was a monologue that Sims delivered with a veteran's artful zest and he stopped talking only to take deep breaths or blow sweat off the edge of his upper lip.

"The thing about raw sewage," he said. "You treat it with loving care. You route it through bar screens way underground. And pump it up to settling tanks and aeration tanks. And you separate it and skim it and nurse it with bacteria."

He went through the process in lushest detail, stroking certain words, drawing them out, oozy, swampy, semisolid, thick, slick, sludge.

"Because this is your medium now. A tarlike substance with a funky savor to it."

What gusto he managed to salvage from our punishing run, eyes wide and voice strong-he made it sound like a personal attack.

"One crew leaves, they have to press-gang another."

He pulled ahead of me and I caught up and we went hard past the golf course in the bright clean heat.

Later we drove back together and went directly to the campus, our Los Angeles headquarters, a series of bridge-linked buildings with mirrored facades, high above a freeway, and I could see it all shatter in slow motion in my mind.

A cobbled road took us past ponds and blond sculpture and cinnamon trails for jogging.

"You see these buildings breaking apart and coming down?"

He looked at me.

"You don't think this is what we're supposed to see when we look at these buildings?"

He wanted nothing to do with this idea.

"You don't think it's a new way of seeing?"

We walked along hallway mazes fitted with electronic gates that Sims opened by inserting a keycard in a lockset. This was the smart new world of microprocessors that read coded keys. I liked the buzz and click of the card in the lock. It signified connection. I liked the feeling of some power source accessible to those of us with coded keys. In the elevator he spoke his name into a voiceprint device, Simeon Branson Biggs, suitably sonorous, and the machine lifted instantly to three.

We sat in his office.

"Nobody dies here. I get blood pressure readings right down the hall. We have exercise rooms. They measure my body fat and tell me what to eat in grams and ounces."

He lit a cigar and looked at me through the skeptical smoke.

"People come to work in tennis shoes and blond beards. Play tennis and volleyball. I go to sleep black every night and come back white in the morning."

He wore shoes we used to call clodhoppers, great heavy things with squared-off toe caps.

"You believe in God?" he said.

"Yes, I think so."

"We'll go to a ball game sometime."

"And you wait for a sludge tanker to come and get it. Honey buckets, they're called in the Northeast. The tanker dumps the sludge in the ocean. Like you take a dump in your own home. One hundred and six miles from the Jersey shore, legally. Or less, illegally."

"Interesting."

"Interesting," he said. "Isn't it?"

"Yes it is."

"Never thought about it, did you?"

"I thought about it a little."

"Never thought about it. Say it."

"I thought about it vaguely maybe."

"Vaguely maybe. I see. That's well put. Perfect really."

A delta-wing plane nudged the sun and vanished in the dizzy ozone, climbing dreamily.

"But how is it my medium?" I said.

We ran through the gulley, over the stony surface.

"This is what you and I. And all of us here. Fundamentally deal with. Over and above. Or under and below. Our stated duties."

"You're saying all waste."

"That's what I'm saying."

All waste defers to shit. All waste aspires to the condition of shit.

We poked and elbowed, jockeying for advantage, and Sims blew mist off his upper lip.

"How are things at home? Things all right at home?"

"Things are good. Things are fine at home. Thanks for asking."

"Love your wife?" he said.

"Love my wife."

"Better love her. She loves you."

We went a little faster and he took off his cap and hit me with it and put it back on.

"But this ship thing," I said.

"This ship thing is a dumb rumor that builds on itself."

"The ship is a running joke."

"The crew keeps changing. You know that?" he said. "They change the crew more often than they change the name of the ship."

He laughed and hit me with his hat.

He was waiting for Chuckie Wainwright. The broad-backed work of the waterfront went on around him, a sense of enormous tonnage and skyhook machinery, tractor-trailers crooking into marked slots and containered goods stacked on the decks of tremendous ships, you almost can't believe how big, and the what-do-you-call, the booms of dockside cranes swinging cargo through the mist. And farther out in the bay an aircraft carrier easing toward the Golden Gate, sent on its way by a mongrel fleet of small craft and three fireboats spritzing great arcs of water like a champagne farewell.

Marvin checked his watch for the tenth time in the last hour. He stood near a transit shed where he was safe from the action. He resembled a gentile lost in a fog, wearing a suede touring cap and a double-breasted raincoat with epaulets, gun flaps, raglan sleeves, he knows these terms from years in dry cleaning, broad-welt pockets, belt loops, sleeve straps and so many buttons he felt dressed for life.

He carried a telescopic umbrella enclosed in a sheath that belonged to a different umbrella, he has kelly green inside sky blue, not that it mattered to anyone but his wife.

Sims had calls to make and mail to read. I spent some time with other people and then took a taxi to my hotel-I'd be here for a couple of days. And the taxi driver said something odd. We were driving along. I didn't know where we were. You come to a city and you go where the driver takes you-you go on faith. And he said something either to me or to himself. He was an old guy with nervous hands and a catch in his voice, a half gasp like a splice that wasn't working.

He said, "Light up a Lucky. It's light-up time."

Neither one of us had a cigarette in hand or showed any sign of reaching for one. Maybe he was just recalling the old slogan, idly, reciting the thing simply because he'd thought of it, because it had shot to mind out of some nowhere in the memory, but it was odd and unsettling. You come to a city and hear a thing like that and you don't know what to think. I looked at him. I leaned to the side and looked at his profile and I tried to figure out what he meant.

"Remind them of what?"

She waved her guidebook at him.

"Sometimes bad luck is writ large and plain."

"What do you mean?"

"The clock stopped at seventeen minutes past five in the morning. Five one seven, dear. Add the digits and you get thirteen."

Maybe there was a shift in the breeze. He noted the smell again and found it moved him in strange ways, one of those smells that traces back through memory, musty and earthy in this particular case, and he felt an unaccountable urge to follow it to its source.

"Where is your Mr. Wainwright?"

"Boat's late," he said.

"Don't be so pessimistic."

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