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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He did this and was facing his chief of finance.

She said, "So look. We have two rumors working in our favor. First there's bankruptcies for six straight months. More each month. More on the way. Large Japanese corporations. This is good."

"The yen has to drop."

"This is loss of faith. It will force the yen to drop."

"The dollar will settle up."

"The yen will drop," she said.

He heard a slidy rustle of latex. Then the Ingram finger entered.

"Where is Chin?" she said.

"Working on visual patterns."

"This thing doesn't chart."

"It charts."

"It doesn't chart the way you chart technology stocks. You can find real patterns there. Locate predictable components. This is different."

"We are teaching him to see."

"You should do the seeing. You're the seer. What is he? A kid. He has the streak in the hair. He has the earring."

"He doesn't have the earring."

"If he was any more dreamy, we'd have to put him on life support."

He said, "What's the second rumor?"

Ingram examined the prostate for signs. He palpated, the finger slyly prodding the surface of the gland through the rectal wall. There was pain, probably just muscles tensing in the anal canal. But it hurt. It was pain. It traveled the circuitry of nerve cells. From his stooped position, Eric looked directly into Jane's face. He liked doing this, which surprised him. In the office she was an edgy presence, skeptical, adversarial, aloof, with a gift for sustained complaint. Here, she was a single running mother in a foldout seat, knock-kneed and touchingly, somehow, gaunt. A splash of hair lay moist and flat on her forehead, showing the first faint veining of gray. The water bottle dangled from a lank hand.

She did not recede from his gaze. She made complete eye contact. Her clavicle showed knobby above the droop of her tank top. He wanted to lick the sweat off the inside of her wrist. She was wrists and shinbones and unbalmed lips.

"There's a rumor it seems involving the finance minister. He's supposed to resign any time now," she said. "Some kind of scandal about a misconstrued comment. He made a comment about the economy that may have been misconstrued. The whole country is analyzing the grammar and syntax of this comment. Or it wasn't even what he said. It was when he paused. They are trying to construe the meaning of the pause. It could be deeper, even, than grammar. It could be breathing."

When Nevius did the finger, it was in and out in seconds. Ingram was probing for some murky fact. Jane was the fact. She had the bottle in her crotch, knees flopped outward now, and watched him. Her mouth was open, showing large gapped teeth. Something passed between them, deeply, a sympathy beyond the standard meanings that also encompassed these meanings, pity, affinity, tenderness, the whole physiology of neural maneuver, of heartbeat and secretion, some vast sexus of arousal drawing him toward her, complicatedly, with Ingram's finger up his ass.

"So the whole economy convulses," she said, "because the man took a breath."

He felt these things. He felt the pain. It traveled the pathways. It informed the ganglion and spinal cord. He was here in his body, the structure he wanted to dismiss in theory even when he was shaping it under the measured effect of barbells and weights. He wanted to judge it redundant and transferable. It was convertible to wave arrays of information. It was the thing he watched on the oval screen when he wasn't watching Jane.

"You grip the water bottle."

"It's that soft type plastic."

"You grip it. You choke it."

"It's a matter-of-fact thing."

"It's sexual tension."

"It's everyday nervousness in a life."

"It's sexual tension," he said.

He told Ingram to reach over with his free hand and fish the sunglasses out of the suit jacket on the hanger nearby. The associate managed to do this. Eric put on the glasses.

"Days like this."

"What?" she said.

"My mood shifts and bends. But when I'm alive and heightened, I'm super-acute. Do you know what I see when I look at you? I see a woman who wants to live shamelessly in her body. Tell me this is not the truth. You want to follow your body into idleness and fleshiness. That's why you have to run, to escape the drift of your basic nature. Tell me I'm making it up. You can't do that. It's there in your face, all of it, the way it rarely shows in any face. What do I see? Something lazy, sexy and insatiable."

"I'm comfortable with that."

"This is the woman you are inside the life. Looking at you, what? I'm more excited than I've been since the first burning nights of adolescent frenzy. Excited and confused. I look at you and feel an erection stirring even as the situation argues strenuously against it."

"It can't afford to be hard. It won't allow itself psychologically," she said. "It knows what's going on back there."

"All the same. Days like this. I look at you and feel electric. Tell me you don't feel it too. The minute you sat there in that whole tragic regalia of running. That whole sad business of Judeo-Christian jogging. You were not born to run. I look at you. I know what you are. You are sloppy-bodied, smelly and wet. A woman who was born to sit strapped in a chair while a man tells her how much she excites him."

"How come we've never spent this kind of time together?"

"Sex finds us out. Sex sees through us. That's why it's so shattering. It strips us of appearances. I see a near naked woman in her exhaustion and need, stroking a plastic bottle pressed between her thighs. Am I honor-bound to think of her as an executive and a mother? She sees a man in a posture of rank humiliation. Is that who I think he is, pants around his ankles and butt flung back? What are the questions he asks himself from this position in the world? Large questions maybe. Questions such as science obsessively asks. Why something and not nothing? Why music and not noise? Beautiful questions strangely suited to his low moment. Or is he limited in perspective, thinking only about the moment itself? Thinking about the pain."

The pain was local but seemed to absorb everything around it, organs, objects, street sounds, words. It was a point of hellish perception that was steady-state, unchanging in degree, and not a point at all but some bundled other brain, a counter-consciousness, but not that either, located at the base of his bladder. He operated from within. He could think and speak of other things but only within the pain. He was living in the gland, in the scalding fact of his biology.

"Does he regret surrendering his dignity and pride? Or is there a secret wish for self-abasement?" He smiled at Jane. "Is his manhood a sham? Does he love himself or hate himself? I don't think he knows. Or it changes minute to minute. Or the question is so implicit in everything he does that he can't get outside it to answer."

He thought he was serious. He did not think he was speaking for effect. These were serious questions. He knew they were serious but was not sure.

"Days like this. He snaps a finger and a flame shoots up. Every sensitivity, all his attunements. Things are ready to happen that normally never do. She knows what he means, that they don't even have to touch. The same thing that's happening to him is happening to her. She doesn't need to crawl under the table and suck his dick. Too trite to interest either one of them. The flow is strong between them. The emotional tone. Let it express itself. He sees her in her wallow and feels his pelvic muscles begin to quiver. He says, Tell me to stop and I'll stop. But he doesn't wait for her to reply. There isn't time. The tails of his sperm cells are lashing already. She is his sweetheart and lover and slut undying. He doesn't have to do the unspeakable thing he wants to do. He only has to speak it. Because they're beyond every model of established behavior. He only has to say the words."

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