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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America, a fact he'd managed to miss-the things, the places, the bright buzz of products on the shelves, the sunblast of fortune's favor. Here they were in a strange bed in California, what twists to life, how uncertain go the turns, an English girl in his arms, pink and innocent even if she's not, and Marvin's polymerized hairpiece secure on his head.

She wanted Japanese but that wasn't enough. They had to go to a place where the guidebook said tatami seating.

Marvin thought if he lived all his life for a hundred years before meeting Eleanor, he would have done the same three or four things in the same order every day and as soon as he met Eleanor, at the age of a hundred and one, he would be sitting on the floor to eat seaweed.

They faced each other over the low table, in their stocking feet.

"What's the word for the thing that's not ultimate but next to ultimate?"

"Penultimate."

"Penultimate. See, that's what I've got in Chuckie Wainwright."

"Sit up straight," she told him.

"Greenland. I always had my suspicions about that place."

"What do you mean?"

"That's where he was stationed in the Air Force if he was actually there."

"Why wouldn't he have been there?"

"Do you personally know anybody who's ever been there?"

"No, I don't," Eleanor said.

"Let me advise you. Neither do I. And neither does anyone I've talked to lately."

"I think there's a main city."

" You think there's a main city. Do you know the name of this place?"

"No, I don't."

"Did you ever look at Greenland on a map?"

"I guess I have, once or twice perhaps."

"Did you ever notice that it's never the same size on any two maps?

The size of Greenland changes map to map. It also changes year to year."

"Actually it does. I used to think you were mad. But I understand now. Yes, you're mad but there's a certain reasoning behind it. There's a little childlike spot of logic. A little bedtime thing. You need to finish the story. Dear Marvin. Without the final link to the baseball there's no way to be sure how the story ends. What good's a story without an ending? Although I suppose in this case it's not the ending we need but the beginning."

He liked her in a towel. They'd first met near the end of the war, said hello-goodbye but corresponded, she was an air-raid warden with a torch, they called it, and he was a quartermaster handing out condoms for D-day that the troops fixed to the muzzles of their rifles to keep out sand and water and he still liked her in a towel or slip, married twenty-seven years to this point.

He sat in his shorts at the edge of the bed, taking off his ribbed socks. They would do like tourists in commercials, have marital sex in a nice hotel. Their room had a view of a view. From their window they could look across the courtyard to office towers and reflected clouds in the picture window of the hotel restaurant.

"Marvin, do you plan to wear it?"

She was talking about his toupee.

"I need it for how I see myself."

He also needed it because it took the edge off his large ears and sorrowful Marvin nose. He wanted to look nice for her even if she didn't think it mattered. Tonight he'd wear his best shirt, with cuffs so French he wanted to hum the what-do-you-call.

"You're my man, with or without."

A thing she said with a half-fake quiver of her mouth that made him feel he owned the earth.

She slipped off the towel and placed a knee on the end of the bed. They were honeymooners still, shy but eager, and Marvin in his Brooklyn-bornness, his religion of skeptical response-he was only now beginning to see how hard it was to persist in the sentimental myth, after all these years, of their dissimilarity, a thing he'd fabricated out of her accent and complexion. He was glimpsing his Eleanor truth by truth, that she matched him in appetite, that her ambitions for the business were bigger than his own, that her main ambition was

The waitress brought saki for her, beer for him. She called the drinks beverages and Marvin thought he was on an airliner. All the traveling he'd done, baseball-related, the unsheveled lives, the words and sentences.

Wait-listed passenger Lundy please present yourself at the podium.

1. The mother of twins in what's that town.

2. The man who lived in a community of chemically sensitive peo ple, they wore white cotton shifts and hung their mail on clotheslines.

3. The woman named Bliss, which he was younger then, Marvin was, and maybe could have, with eyes as nice as hers, done a little something, in Indianola, Miss.

4. The shock of lives unlike your own. Happy, healthy, lonely, lost. The one-eighth Indian. Lives that are blunt and unforeseen even when they're ordinary.

5. Who knew a Susan somebody who spoke about a baseball with a famous past. Marvin forgets the tribe.

6. Stomach acting up again.

7. The chemically sensitive man, his whole body vibrated when somebody snapped a photo a mile and a half away.

8. And Chuckie Wainwright gone to sea, leaving a woman and child behind, a hippie Christian cluster, barefoot with beads, and Marvin tracking him ship by ship.

9. And the bone cancer kid in Utah, which his mother blamed the government.

10. Marvin often lost, setting out one day for Melbourne, Florida and nearly ending up Down Under.

11. And the woman with the chipped tooth-a whole long story, you shouldn't ask.

12. And the chemicals in the core of the ball that made the man run in place after breakfast every day.

"Tell me what we're going to do after dinner." "Me you're asking?"

"You've been to this city before. I haven't," she said. "What's left to do by the time I pick myself off the floor? I've got a knot in my leg a cannibal would spit it out." "Come on. Show me a good time."

"It's large," she said.

"It's very large. It's enormous. But sometimes it's a little less enormous, depending on which map you're looking at."

"I believe it's the largest island in the world."

"The largest island in the world," Marvin said. "But you don't know anyone who's ever been there. And the size keeps changing. What's more, listen to this, the location also changes. Because if you look closely at one map and then another, Greenland seems to move. It's in a slightly different part of the ocean. Which is the whole juxt of my argument."

"What's your argument?"

"You asked so I'll tell you. That the biggest secrets are staring us right in the face and we don't see a thing."

"What's the secret about Greenland?"

"First, does it exist? Second, why does it keep changing its size and its location? Third, why can't we find anyone who's personally been there? Fourth, didn't a B-52 crash about ten years ago that the facts were so hush-hush we still don't know for sure if there were nuclear weapons aboard?"

He pronounced it nucular.

"You think Greenland has a secret function and a secret meaning. But then you think everything has a secret function and a secret meaning," she said.

"The bigger the object the easier it is to hide it. How do you get to Greenland? What boat do you take? Where do you find an airport that has a flight to this main city that nobody knows the name of and nobody has ever been to? And this is the main city. What about the outlying areas? The whole enormous island is one big outlying area. What color is it? Is it green? Iceland is green. Iceland 's on TV You can see the houses and the countryside. If Iceland is green, is Greenland white? I'm only asking because nobody else is asking. I have no personal stake in this place. But I watch the nature channel and I see tribes they wear mud on their body in New Guinea and I see those thingabeests, they're mating in some valley in Africa."

"Wildebeests," Eleanor said.

"But I never hear a peep from Greenland."

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