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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"Stay down."

"She said, Stay down. I don't know what I thought and I don't know what she thought."

"It was only the census."

"Don't say only the census."

" You tell me I'm going a little gray. And I'm supposed to understand how this is worse than total baldness."

"Because it's in my history, it's in my family," he said. "I'm supposed to go bald. It's expected of me. Stay down, she said."

"Stay down."

" You believe the census, Nick?"

He sat there with his loosened tie and wrinkled jacket, relighting the discontinued cigar, a line of sundown pink visible above the jut of his lower lip.

"What do you want me to say? Yes, I believe it. No, I don't believe it."

"I want you to say what you believe."

"Because I can sense we're about to enter some touchy area."

"What do you believe?" he said.

"I believe the census. Why shouldn't I believe it?"

He gave me a flat-eyed look with a nice tightness to it.

" You believe it."

"Why shouldn't I believe it?"

" You believe the numbers. You believe there's only twenty-five million, for example, black people in America."

"Why shouldn't I believe it?"

"You believe it then."

"If that's the number, that's the number."

"And you don't think they might be underplaying the true number."

"Wait a minute."

"You don't think."

an African blackness, you know the saturate blacking of a bandwidth somewhere on the continent, some nomad swath of high desert grace and shape, but in gesture and stance, I saw, the way he tongued some spittle off his lip between riffs, a body demotic that was locally made- he was another scuffling trumpet from an inner city somewhere.

"Charlie Parker in a white suit in a club in New York," I said.

"Now how many references to New York have I heard from you tonight?"

"And I know what kind of shoes he's wearing."

"I don't care what kind of shoes he's wearing."

"Spectator shoes."

"I don't care what kind of shoes he's wearing."

"They're not saddle shoes. They're called spectator shoes."

"I don't care what they're called."

"Look. Here's what you do," I told him. "You go home, you say you're sorry, you put some fizzy stuff in your bathtub and you take a bath and go to bed."

Ten minutes later we were standing outside the club waiting for someone to bring the car around and Sims put his hands on my shoulders and head-butted me.

I didn't know how to take this.

He gave me a tight grin and butted me high on the forehead and I didn't know if this was an impulsive gesture at the end of a long night when you're muzzy with booze and hoarse with talk and smoke, a thing that brings an evening to a formal close, or something a little more deliberate.

I pushed his arms away and butted him back, put my hands on his shoulders and butted him back and he looked at me with interest and did it again.

It hurt of course, it set off a throb, it was a monosyllabic thing, a butt, a blow, a downward driving shock that sent an electric pain through the back of the head and into the neck and shoulders.

And it was up close, eyeball tight, a combat space without maneuvering room or finer points, a certain amount of acted rancor filling the visual field, a scowl and glare, or a hooded look, a sort of sleepy killer thing, lidded and dumb.

"You and I," I said.

" You don't think the number is underinflated by maybe forty percent."

"We don't indulge ourselves in cheap and easy delusions, Sims."

"Cheap and easy."

"Am I right? You and I. We don't believe that what is behind an event is so organized and sinister that we have to make a science out of it."

"You don't think white people gonna be so depressed, so, I hate to say it, menaced by the true number."

He didn't hate to say it at all.

"You think the census bureau is hiding ten million black people," I said.

"Not hiding the people. They're hiding the number. This is an easy thing to hide."

"But a number so large. What a tremendous manipulation. And it's going on in front of our eyes. Maybe it's the mothers," I said. "Ten million mothers telling their kids to stay down. Stay down," I said.

A brief smile from Big Sims, a reflex smile minus the ensuing brightness of eye.

"Face the issue," he said.

"What's the issue?"

"We have a right to know how many of us there are."

"But you do know."

"We don't know. Because the number is too dangerous. How threatened do you feel by the real number? I'm talking to you. Think into your own heart."

"All right, I'm thinking."

"Tell me in your heart you don't think there's something genuine in what I'm saying."

"There's genuine paranoia. That's the only genuine anything I can see here."

He seemed to take pleasure in this. He sat back and looked off to the side, grimly happy, examining what there might be in the nature of human exchange that makes people so smoothly predictable.

I listened to the blues trumpet, a young guy in a beat-up suit, he had

"What do you hear about the body in the sludge?"

"They won't find a body The body's just another embellishment," he said. "The main thing is the ship itself."

"What about it?"

" A ship being on the high seas for two years, changing names and crews-that's just a story too. The ship made one recent voyage, East Coast to West Coast. Carrying sludge to California to deliver to a composting operation. Ordinary simple shipment."

We ran along city streets, landscaped avenues of a certain fallen aura, an out-of-timeness that was ravishing in its open regret.

"Look, Sims, here's the thing."

"Let's run," he said.

"I don't know. I'm a little, and I shouldn't say this, I know, to someone like you."

"Love your kids, right?"

"Yes of course."

"Then run," he said.

"How close I am, some of the time, I sometimes think, as much as I love them all, to feeling like an imposter, Because it has not fucking, ever, been something I am comfortable with."

We stood in the kitchen wasted by miles of hills and hot pavement, reluctant to move about for fear of dripping sweat on something, two men in shorts, and Greta gave us glasses of water, a brown-haired woman with long hands and a half-hidden gauntness, a sort of lean and angular suchness, an x-ray Greta that probably showed itself in argument or stress.

" You like this place?" I said.

"I think I'm at the ends of the earth. Four years we are here and I am waking up every morning and trying to remember where I am. So far from everything."

"We are backed up," Sims said, "to a very big ocean."

And the son, the five-year-old, sitting at the table with his cereal bowl and oversized spoon, Loyal Branson Biggs, a boy so softly handsome, so offhandedly blessed with expressive beauty that I could not stop looking at him, I looked at him while I spoke to his parents and they looked at him too and they looked because I was looking-I reminded them to renew their sense of amazement in the child.

I was taller than Sims but not so solid and volumed and I'd never used my head as an instrument of medieval siege.

I butted him just above the nose, driving down, and it stung him, I could tell, it sent a message unit ringing through his skull.

He jolted me good. He hit me so hard I was stunned backwards half stumbling, right out of his grip on my shoulders, and the guy showed up with the car and stood by to watch.

The pain was electric and compact, reducing everything to its own sort of benumbment, making the world beyond my head seem small and dazed.

This is what we did, we hairlined in, blocking out everything but the butting and glaring and pain.

When he butted me again I moved my head, eased back a quarter inch, trying to tone the blow a little, and he jutted his chin and glared.

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