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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"Say the words."

"I want to bottle-fuck you slowly with my sunglasses on.

Her feet flew out from under her. She uttered a thing, a sound, herself, her soul in rapid rising inflection.

He saw his face on the screen, eyes closed, mouth framed in a soundless little simian howl.

He knew the spycam operated in real time, or was supposed to. How could he see himself if his eyes were closed? There wasn't time to analyze. He felt his body catching up to the independent image.

Then man and woman reached completion more or less together, touching neither each other nor themselves.

The associate tore the glove off his hand and slapped it in the waste bin, the rip and the discard, dark with meaning.

Horns were blowing up and down the street. Eric began to dress, waiting for Ingram to use the word asymmetrical. But he said nothing. His real doctor, Nevius, had used the word once, in palpation, without elaborating. He saw Nevius nearly every day but had never asked what the word implied.

He liked to track answers to hard questions. This was his method, to attain mastery over ideas and people. But there was something about the idea of asymmetry. It was intriguing in the world outside the body, a counterforce to balance and calm, the riddling little twist, subatomic, that made creation happen. There was the serpentine word itself, slightly off kilter, with the single additional letter that changes everything. But when he removed the word from its cosmological register and applied it to the body of a male mammal, his body, he began to feel pale and spooked. He felt a certain perverse reverence toward the word. A fear of, a distance from. When he heard the word spoken in a context of urine and semen and when he thought of the word in the shadow of pissed pants, one, and limp-dick desolation, two, he was haunted to the point of superstitious silence.

He took off his sunglasses and looked closely at Ingram. He tried to read his face. It was empty of affect. He thought of putting his sunglasses on the associate's face, to make him real, give him meaning in the sweep of other people's perceptions, but the glasses would have to be clear and thicklensed and life-defining. If you knew the man ten years, it might take you all that time to notice he did not wear glasses. It was a face that was lost without them.

It was not Ingram who spoke. It was Jane Melman, pausing at the open door before she resumed her interrupted run.

"I want to say something that is deeply uncomplicated. There is time to choose. You can ease off and take a loss and come back stronger. It is not too late. You can make this choice. You've done great work for our investors in strong and choppy markets both. Most asset managers underperform the market. You've outperformed it, consistently, and you've never been influenced by the sweep of the crowd. This is one of your gifts."

He was not listening. He was looking past her to a figure at the cash machine outside the Israeli bank on the northeast corner, a slight man mumbling in his teeth.

"We've profited, we've flourished even as other funds have stumbled," she said. "Yes, the yen will fall. I don't think the yen can go any higher. But in the meantime you have to draw back. Pull back. I am advising you in this matter not only as your chief of finance but as a woman who would still be married to her husbands if they had looked at her the way you have looked at me here today."

He was not looking at her now. She shut the door and began running north on Fifth Avenue, past the shabby man at the ATM. There was something familiar about him. It wasn't his khaki field jacket or paper-shredded hair. Maybe it was his slouch. But Eric didn't care whether this was someone he'd once known. There were many people he'd once known. Some were dead, others in forced retirement, spending quiet time alone in their toilets or walking in the woods with their three-legged dogs.

He was thinking about automated teller machines. The term was aged and burdened by its own historical memory. It worked at cross-purposes, unable to escape the inference of fuddled human personnel and jerky moving parts. The term was part of the process that the device was meant to replace. It was anti-futuristic, so cumbrous and mechanical that even the acronym seemed dated.

Ingram folded the examining table back into the cabinet. He packed his satchel and went out the door, turning briefly to look at Eric. He was stationary, only a couple of feet away, but already lost in the crowd, forgotten even as he spoke, wide-eyed, with studied detachment in his voice.

"Your prostate is asymmetrical," he said.

2

The Confessions of Benno Levin

NIGHT

He is dead, word for word. I turned him over and looked at him. His eyes were mercifully closed. But what does mercy have to do with it? There was a brief sound in his throat that I could spend weeks trying to describe. But how can you make words out of sounds? These are two separate systems that we miserably try to link.

This resembles something he would say. I must be mouthing his words again. Because I'm sure he said it once, walking past my workstation to the person who was with him, in reference to such and such. Mirrors and images. Or sex and love. These are two separate systems that we miserably try to link.

Allow me to speak for myself. I had a job and a family. I struggled to love and provide. How many of you know the true and bitter force of that simple word provide? They always said I was erratic. He is erratic. He has problems of personality and hygiene. He walks, whatever, funny. I never heard a single one of these statements but knew they were being made the way you sense something in a person's look that does not have to be spoken.

I made a phone threat that I didn't believe. They took the threat to be credible, which I knew they had to do, considering my knowledge of the firm and the personnel. But I didn't know how to track him down. He moved about the city without pattern. He had armed escorts. The building where he lived was unapproachable in my current state of randomized attire. And I accepted this. Even at the firm, it was not easy to find his office. It changed all the time. Or he voided it to work elsewhere, or work wherever he happened to be, or work at home in the annex because he did not really separate live and work, or to travel and think, or to spend time reading in his rumored lake house in the mountains.

My obsessions are mind things, not geared to action.

Now I'm in a position where I can talk to his corpse. I can speak without interruptions or corrections. He can't tell me this or that is the case or I am shaming myself or fooling myself. Not thinking straight. This is the crime he placed in the hall of fame of horrors.

When I try to suppress my anger, I suffer spells of hwabyung (Korea). This is cultural panic mainly, which I caught on the Internet.

I was assistant professor of computer applications. Maybe I said this already, in a community college. Then I left to make my million.

The pencil I'm writing with is yellow, with the numeral 2. I want to note the tools I'm using, just for the record.

I was always aware of what they said in words or looks. It is what people think they see in another person that makes his reality. If they think he walks at a slant, then he walks at a slant, uncoordinated, because this is his role in the lives around him, and if they say his clothes don't fit, he will learn to be neglectful of his wardrobe as a means of scorning them and inflicting punishment on himself.

I make mind speeches all the time. So do you, only not always. I do it all the time, long speeches to someone I can never identify. But I'm beginning to think it's him.

I have my paper, legal size, white with blue lines. I want to write ten thousand pages. But already I see that I'm repeating myself. I'm repeating myself.

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