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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Across the street they saw a tall woman's shop, called Long Tall Sally, but not for dresses and coats. Fantasy Enhancements, the sign read. Books, movies, appliances-tall women only.

You see a few funny things in some off-street on a rainy night and you wonder why they seem significant. Marvin thought there was something here that might be an early sign of some great force beginning to tremble awake, he didn't know what exactly, he didn't know

"The revenge of popular culture on those who take it too seriously."

The remark had an impact. Marvin felt a thing in his chest like a Korean in pajamas who's crushing a brick with the striking surface of his hand. But then he thought, How can I not be serious? What's not to be serious about? What could I take more seriously than this? And what's the point of waking up in the morning if you don't try to match the enormousness of the known forces in the world with something powerful in your own life?

He knew Eleanor wanted to leave. He knew Eleanor was thinking, At least Marvin keeps the basement neat.

There was something he had to buy first. A small empty box semi-discarded in a corner, marked Spalding Official National League Number 1-it once held a new baseball, many years ago. And he would save it for the time when the old used bruised ball came into his possession, if and when.

He reached up to pay the man. Hung on the wall was a photograph of President Carter and his daughter what's-her-name standing in the Rose Garden with Bobby Thomson and Ralph Branca, a strained smile on every face.

They went out to the street. A woman in rags pushed her belongings in a shopping cart, seemingly bent on a specific destination. Was there a family waiting, was she a commuter of the future, did people live unknown to us in the crawlspaces of the what, the infrastructure, down the tunnels and under the bridge approaches?

"Tommy looks so happy. How is that possible, living in the dark?"

"Pick up your feet, Marv. You're healthy, not sick."

"Alone in that dungeon every day."

"Does he have a wife and children?"

"I don't know. Who would ask? That's not a question we ask in the memorabilia field."

"Does he enjoy the amenities, do you think, of our basic way of life?"

"You say that word terrific."

"Does he have a little backyard where he grows Jersey tomatoes every summer?"

"I look at him I don't think I see a tomato looking back."

"Does he take his bride on business trips?"

"I've been here since noon. These other merchants don't open till very late."

"Since noon. And no one."

"How interesting to see a woman," Tommy said.

Eleanor stood motionless, maybe part paralyzed by her exotic status.

She said, "Don't you have to give people an incentive to buy? Not that it's any of my."

"An incentive." What a novel idea. "The incentive is within, I think. These materials have no esthetic interest. They're discolored and crumbling. Old paper, that's all it is. My customers come here largely for the clutter and mess. It's a history they feel they're part of."

Marvin said to Eleanor, "I always thought the people who preserved these old things, baseball things, I always thought they lived in the East. I thought this is where all the remembering is done. Tommy is the first collector I found anywhere west of Pittsburgh."

Tommy had a smile so slight and fleeting it could only be photographed on film stock developed by NASA. His little knickknack face floated in the gloom and Marvin had a childlike urge to reach up and touch it, just to see if it felt like his, the rough dull surface he washed and shaved every day.

"Did you find your man?" Tommy said.

"I found my ship. The man, forget about."

" You must give it up."

"Who's talking?"

"You can't precisely locate the past, Marvin. Give it up. Retire it. For your own good."

"Who's talking?"

"Free yourself," Tommy said.

"You sit here inhaling dust like what kind of statue."

"Equestrian," Eleanor said.

"An equestrian statue in the park."

"True. My situation is even more unreal than yours. At least you move about. I sit here with my crumbling paper. There's a poetic revenge in all this."

"What revenge?"

A hummingbird's breath of a smile brushed across Tommy's lips.

3

The club was not exactly jumping. There were seven patrons, counting Sims and me, and four guys on the bandstand-a goateed sax and his hunchy sidemen.

I didn't know where we were, it might have been Long Beach or Santa Monica or some blurry suburban somewhere. This was the third club we'd stopped at and my scant sense of bearing lay in ruins. Big Sims was not talkative tonight, racing through the landscape with dark determination, half a drink and out the door, like a man assigned a task in an epic poem.

"Hey Sims. Go home, okay? You're not enjoying the music. I don't want you to think."

"The music's okay. It's music."

"But don't think you have to show me the sights. Go home. I'll stay a while and grab a cab."

"Go home."

"Go home. That's right. But first tell me who you're mad at."

"This isn't mad. If you think this is mad," he said.

An elderly fellow brought our drinks, a guy with a wad of cotton in

Eleanor knew how to make him feel lucky. And she was right, she was nearly always right, the tomatoes, the cleaning business, the house with the spacious basement, the daughter who hadn't caused them major aggravation by doing something stealthy out of wedlock. Think of Tommy eating Cambodian takeout in his shop at midnight. Think of Avram in Gorki walking down the hall with the kitchen tap every time he wanted to take a bath.

They found a taxi idling in front of an old flophouse.

But in truth, let's be honest, it was Marvin who shuffled, Marvin who was the true schlimazel, bad-lucked in his own mind, Marvin the Dodger fan, doomed in ways he did not wish to name.

A police car went by with its siren going, a rotary slurping noise, it sounded like the blender in their kitchen-she made fruit shakes compulsively that they felt morally bound to drink.

Time to think about going to bed. But first he took her dancing in the penthouse lounge of their hotel, an intimate room with a combo, well past midnight.

They moved across the floor, swayed and dipped-not really dipped but only showed a pause, a formal statement that such a thing as a dip could happen here. They liked to dance, were good together, used to go dancing but forgot, let the habit slip away through the years the way you forget a certain food you used to devour, like charlotte russes when they were popular.

She ran her hand through his fire-resistant hair.

And Marvin held her close and felt the old disbelief of how they'd found a life together, such fundamentally different people even if they weren't, and he knew the force of this disbelief was the exact same thing, if you could measure it, as being stunned by love.

But in the deep currents, in the Marvinness of his unnamed depths, there was still an obscure something that caused disquiet.

And when they danced past the window he looked out at the lights of the Bay Bridge spotting through the mist and saw the old forlorn tanker snug in its berth, pungent and shunned, and he counted over to pier 7 and found that the Lucky Argus was already off-loaded and gone, borne on the tide, a dark shape going at what, flank speed, in the great deep danger of night.

"He's wearing a white suit and those shoes I can never remember what they're called."

Out of nowhere I thought about how our faces changed, how I tried to spy out a sign in another man's eye that would tell me how worried I ought to be but at the same time how I avoided eye contact until I'd had a chance to gain a certain purchase on the situation and how we seemed to agree together, as the room whistled and groaned, that if we all carried the same face we would be free from any harm.

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