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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He goes the last four blocks with his head turned away from the wind and the wind is whipping off the Hudson and Manx is walking like a horse with a spooked head.

But how different once you step inside the bar. The warm buzz, the easy breathing, the rumps happy on their stools. The buzz in Tally's is special tonight, more bodies than the usual midweek slump and more static in the air-and then he remembers. There's a tone, a telling rustle in the room and he pats the side of his jacket and feels the baseball and understands that they're talking about the game.

He waves to Phil, who's behind the bar, Tally's brother, in his plain shirt and fancy suspenders, and he gestures a question where -and Phil nods toward the far corner and there is Antoine Cooper sitting with a drink in front of him and two tall shovels leaned on the wall behind.

Manx sits across from Antoine, sits sideways in his chair so he doesn't have to look at the shovels.

"I seen Franzo standing in the dark."

"I know it. He wants my car. But he can't have it."

"What's that you're drinking?"

"He's looking to make some chick he's better off avoiding. Trust me. I already done her."

Manx looks around the room, takes in the buzz, hears half a sentence fly up out of shared laughter and he decides not to mention the shovels. He is aghast at the shovels. The shovels should not be here in any manner, way, shape or form. But he decides for now he won't say a word.

"What was that riot in forty-three? I'm trying to recall how it started. They filled so many holding cells in so many station houses they had to open an armory."

"Forty-three. I'm in the army, man."

"They had bleeding men carrying their loot under armed guard. Put them in an armory on Park Avenue."

"We had our own riot," Antoine says.

Manx goes to the bar and gets a Seagram's from Phil-he likes his rye in a short glass with a single ice cube.

Phil says, "What's happening?"

"I hear they played a ball game today."

"Goddamn it was something."

Manx carries the drink back to the table with one hand clutching the glass in the usual manner and the palm of the other hand under the glass, supporting it like some polished object in a church.

The ice cube is mainly scenery.

Antoine says, "How the boys doing?"

"The boys. The boys spread far and wide," Manx says. "Randall's in the South somewhere, bivouacking, you know, training in the field. And Vernon."

"I know where Vernon 's at."

" Yemen 's on the front line is where he's at. They got a quarter million troops they're looking at across the line. Them Chinese."

"What division he's with?"

"What division."

"Second Infantry's in Korea," Antoine says.

"I don't know what division."

"You don't follow the war?"

"What's that you're drinking?"

"I like to follow the war. They plot their strategies."

"They blow horns and whistles, that's their strategy, them Chinese. They come charging down in swoops."

"This here's brandy, my man. Drinking imported tonight."

"It's sitting there a little potent," Manx says.

"Only in the glass. Goes down the hatch real smooth."

"They come in swoops. That's their strategy."

"You say a prayer now and then. That's what you do."

"Sure, Antoine. I kneel by the bedside."

"You done okay with your kids."

"Sure, Antoine. They take care of me in my old age."

"You got some work?"

"They come visit me in the old folks. Slip me a bottle through the gate."

"You done okay, considering."

"Rosie's the one. That's a great girl. That's the only one that shows respect."

"You need some work. Change your temperament around. You're walking on eggs lately."

"They're laying off. They're not hiring. They're laying off."

"You need to get into long-distance moving."

"They bring me a cake on my birthday," Manx says.

"Long-distance, that's the ticket. I got a cousin in Alabama, which he's based in Birmingham, gets plenty of work long-hauling furniture and whatnot."

"I keep that in mind."

"Yellow yams from Birmingham."

"I place that on my list of things I need to think about."

"Greenest greens you ever seen," Antoine says a little croony.

Manx decides he can't contain it any longer. But he doesn't look at Antoine. He looks across the room at one of those wall lamps, the old-fashioned-type lamp bracketed to the wall where the sleeves that hold the bulbs have fake candle wax running down the sides.

And he says, "Shit man you got those shovels in plain sight."

Antoine has a long slick head and narrow neck, a man of schemes and contrivances, called Snake when he was younger, and he determines it is necessary to turn his upper body to the wall behind him so he can identify the objects in question. Oh yeah, these things, for shoveling off the patio after a white Christmas.

And he turns back to Manx real low in his chair so he's peering out confidentially over his drink.

"I don't think there's an FBI bulletin circulating tristate. What do you think?"

"I think they belong in your car, like we stated."

"The point is you got to raise your sights. Because these things don't bring no return."

"We stated beforehand, Antoine."

"Not worth arguing. Ibu're right, I'm wrong. But you got to raise your sights."

They sit drinking a while and Manx thinks about leaving but he doesn't move off the chair. He thinks about taking his shovels and leaving but he sits there because once he gets up and takes the shovels off the wall he is committed to walking the full length of the barroom with two large snow shovels in early October, and no place sensible to take them, and the thought of it, and the sight of it, keeps his ass in the chair.

Instead he takes out the baseball and sets it on the table. Then he waits for Antoine to take some time out of his busy day so he can notice.

"My kid brought it home from the game, my youngest, says it's the home run that won the game."

"That game they played today?"

"That's right," Manx says.

"I seen people on Seventh Avenue hollering up and down. Hands pressed on their horns, hollering out the windows. I said to Willie Mabrey. You know Willie? I said, They must be opening the vaults. The banks opening up their vaults. First come first serve. I said, Let's go get ours."

"My youngest. He come home with the ball. This is the ball what's-his-name hit in the stands. The game winner. Win the pennant."

Manx feels uneasy, he feels separated from what he's saying-it comes out of his mouth like a lie, the way a lie hangs in the air independent of right and wrong, making you feel you're not responsible.

He feels an urge to take the ball off the table and put it back in his pocket.

"This is the ball what's-his-name? What you saying exactly?"

"I'm saying it could be worth something."

"And I'm saying raise your sights. Because the circumstantial fact, you can't prove nothing. And who do you sell it to anyway?"

"I sell it to the ball club. They want it for a trophy. They make a display."

"Let me look at this thing. This thing's all smudged up."

Manx realizes he doesn't want Antoine to touch the ball. Antoine will look at the ball and say something that's a bringdown, something that gets Manx riley and griped, and he is already feeling tense enough, with his stomach acting up.

He takes the ball and puts it in his pocket.

Antoine leans back, hands up and palms facing out, showing his old snakehead smile, cool and mean.

"Tell you something. Maybe you sell the thing somewhere. But I don't think you be buying a sofa from Ludwig Bauman's," he says. "Or a pretty di-nette ."

Manx goes to the bar to drink in peace. After a while Phil comes over and they talk a while. The place is quieter now, down to serious drinkers, they talk about the game. Phil is a straight-up guy, barn-sized, looks you in the eye. He talks about the game and Manx listens carefully, hoping for an angle, something to go on. The Dodgers are finished for the year. Dead and buried. The Giants play in the World Series starting tomorrow-starting today, Phil says, checking his watch, because it's past midnight now.

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