Don Delillo - Cosmopolis

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From Publishers Weekly
DeLillo skates through a day in the life of a brilliant and precocious New Economy billionaire in this monotone 13th novel, a study in big money and affectlessness. As one character remarks, 28-year-old Eric Packer "wants to be one civilization ahead of this one." But on an April day in the year 2000, Eric's fortune and life fall apart. The story tracks him as he traverses Manhattan in his stretch limo. His goal: a haircut at Anthony's, his father's old barber. But on this day his driver has to navigate a presidential visit, an attack by anarchists and a rapper's funeral. Meanwhile, the yen is mounting, destroying Eric's bet against it. The catastrophe liberates Eric's destructive instinct-he shoots another character and increases his bet. Mostly, the action consists of sequences in the back of the limo (where he stages meetings with his doctor, various corporate officers and a New Economy guru) interrupted by various pit stops. He lunches with his wife of 22 days, Elise Shifrin. He has sex with two women, his art consultant and a bodyguard. He is hit in the face with a pie by a protester. He knows he is being stalked, and the novel stages a final convergence between the ex-tycoon and his stalker. DeLillo practically invented the predominant vernacular of the late '90s (the irony, the close reading of consumer goods, the mock complexity of technobabble) in White Noise, but he seems surprisingly disengaged here. His spotlighted New Economy icon, Eric, doesn't work, either as a genius financier (he is all about gadgetry, not exchange-there's no love of the deal in his "frozen heart") or a thinker. The threats posed by the contingencies that he faces cannot lever him out of his recalcitrant one-dimensionality. DeLillo is surely an American master, but this time out, he is doodling.
From Library Journal
Unlike his sprawling masterpiece, Underworld, DeLillo's 13th novel is short and tightly focused, indeed almost claustrophobic. Most of the action takes place inside a "prousted" (cork-lined) stretch limo, as the reclusive financial wizard Eric Packer is chauffeured across Manhattan for a haircut. Thanks to a presidential visit, antiglobalization demonstrations, and a celebrity funeral, this journey takes up most of the day. Stuck in traffic, Packer anxiously monitors the value of the yen on the limo's computer. Using the car as his office, he summons advisors from nearby shops and restaurants. His physician gives him a rubber-gloved physical exam in the back seat as Packer discusses imminent financial ruin with his broker and angry crowds block the streets. This work most closely resembles The Body Artist in its brevity and straightforward narrative flow. However, the earlier novel was written in an uncharacteristically warm, poetic style, promising a new direction for this important writer, while Cosmopolis reverts to the standard DeLillo boilerplate, perceptive and funny but also brittle and cold. This, coupled with the book's dated 1990s sensibility, makes Cosmopolis a step backward rather than an artistic advance.

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In the park across the street there were stylized ironwork arbors and bronze fountains with iridescent pennies scattershot at the bottom. A man in women's clothing walked seven elegant dogs.

He liked the fact that the cars were indistinguishable from each other. He wanted such a car because he thought it was a platonic replica, weightless for all its size, less an object than an idea. But he knew this wasn't true. This was something he said for effect and he didn't believe it for an instant. He believed it for an instant but only just. He wanted the car because it was not only oversized but aggressively and contemptuously so, metastasizingly so, a tremendous mutant thing that stood astride every argument against it.

His chief of security liked the car for its anonymity.

Long white limousines had become the most unnoticed vehicles in the city. He was waiting on the sidewalk now, Torval, bald and no-necked, a man whose head seemed removable for maintenance.

"Where?" he said.

"I want a haircut."

"The president's in town."

"We don't care. We need a haircut. We need to go crosstown."

"You will hit traffic that speaks in quarter inches."

"Just so I know Which president are we talking about?"

" United States. Barriers will be set up," he said. "Entire streets deleted from the map."

"Show me my car," he told the man.

The driver held the door open, ready to jog around the rear of the car and down to his own door, thirty-five feet away. Where the file of white limousines ended, parallel to the entrance of the Japan Society, another line of cars commenced, the town cars, black or indigo, and the drivers waited for members of diplomatic missions, for the delegates, consuls and sunglassed attaches.

Torval sat with the driver up front, where there were dashboard computer screens and a night-vision display on the lower windshield, a product of the infrared camera situated in the grille.

Shiner was waiting inside the car, his chief of technology, small and boy-faced. He did not look at Shiner anymore. He hadn't looked in three years. Once you'd looked, there was nothing else to know.

You'd know his bone marrow in a beaker. He wore his faded shirt and jeans and sat in his

masturbatory crouch.

"What have we learned then?"

"Our system's secure. We're impenetrable. There's no rogue program," Shiner said.

"It would seem, however."

"Eric, no. We ran every test. Nobody's overloading the system or manipulating our sites."

"When did we do all this?"

"Yesterday. At the complex. Our rapid-response team. There's no vulnerable point of entry. Our insurer did a threat analysis. We're buffered from attack."

"Everywhere."

"Yes."

"Including the car."

"Including, absolutely, yes."

"My car. This car."

"Eric, yes, please."

"We've been together, you and I, since the little bitty start-up. I want you to tell me that you still have the stamina to do this job. The single-mindedness."

"This car. Your car."

"The relentless will. Because I keep hearing about our legend. We're all young and smart and were raised by wolves. But the phenomenon of reputation is a delicate thing. A person rises on a word and falls on a syllable. I know I'm asking the wrong man."

"What?"

"Where was the car last night after we ran our tests?"

"I don't know"

"Where do all these limos go at night?"

Shiner slumped hopelessly into the depths of this question.

"I know I'm changing the subject. I haven't been sleeping much. I look at books and drink brandy. But what happens to all the stretch limousines that prowl the throbbing city all day long? Where do they spend the night?"

The car ran into stalled traffic before it reached Second Avenue. He sat in the club chair at the rear of the cabin looking into the array of visual display units. There were medleys of data on every screen, all the flowing symbols and alpine charts, the polychrome numbers pulsing. He absorbed this material in a couple of long still seconds, ignoring the speech sounds that issued from lacquered heads. There was a microwave and a heart monitor. He looked at the spycam on a swivel and it looked back at him. He used to sit here in hand-held space but that was finished now The context was nearly touchless. He could talk most systems into operation or wave a hand at a screen and make it go blank.

A cab squeezed in alongside, the driver pressing his horn. This set off a hundred other horns.

Shiner stirred in the jump seat near the liquor cabinet, facing rearward. He was drinking fresh orange juice through a plastic straw that extended from the glass at an obtuse angle. He seemed to be whistling something into the shaft of the straw between intakes of liquid.

Eric said, "What?"

Shiner raised his head.

"Do you get the feeling sometimes that you don't know what's going on?" he said.

"Do I want to ask what you mean by that?"

Shiner spoke into his straw as if it were an onboard implement of transmission.

"All this optimism, all this booming and soaring. Things happen like bang. This and that simultaneous. I put out my hand and what do I feel? I know there's a thousand things you analyze every ten minutes. Patterns, ratios, indexes, whole maps of information. I love information. This is our sweetness and light. It's a fuckall wonder. And we have meaning in the world. People eat and sleep in the shadow of what we do. But at the same time, what?"

There was a long pause. He looked at Shiner finally. What did he say to the man? He did not direct a remark that was hard and sharp. He said nothing at all in fact.

They sat in the swell of blowing horns. There was something about the noise that he did not choose to wish away. It was the tone of some fundamental ache, a lament so old it sounded aboriginal. He thought of men in shaggy bands bellowing ceremonially, social units established to kill and eat. Red meat. That was the call, the grievous need. The cooler carried beverages today. There was nothing solid for the microwave.

Shiner said, "Any special reason we're in the car instead of the office?"

"How do you know we're in the car instead of the office?"

"If I answer that question."

"Based on what premise?"

"I know I'll say something that's halfway clever but mostly shallow and probably inaccurate on some level. Then you'll pity me for having been born."

"We're in the car because I need a haircut."

"Have the barber go to the office. Get your haircut there. Or have the barber come to the car. Get your haircut and go to the office."

"A haircut has what. Associations. Calendar on the wall. Mirrors everywhere. There's no barber chair here. Nothing swivels but the spycam."

He shifted position in his chair and watched the surveillance camera adjust. His image used to be accessible nearly all the time, videostreamed worldwide from the car, the plane, the office and selected sites in his apartment. But there were security issues to address and now the camera operated on a closed circuit. A nurse and two armed guards were on constant watch at three monitors in a windowless room at the office. The word office was outdated now. It had zero saturation.

He glanced out the one-way window to his left. It took him a moment to understand that he knew the woman in the rear seat of the taxi that lay adjacent. She was his wife of twenty-two days, Elise Shifrin, a poet who had right of blood to the fabulous Shifrin banking fortune of Europe and the world.

He coded a word to Torval up front. Then he stepped into the street and tapped on the taxi window. She smiled up at him, surprised. She was in her mid-twenties, with an etched delicacy of feature and large and artless eyes. Her beauty had an element of remoteness. This was intriguing but maybe not. Her head rode slightly forward on a slender length of neck. She had an unexpected laugh, a little weary and experienced, and he liked the way she put a finger to her lips when she wanted to be thoughtful. Her poetry was shit.

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