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Cosmopolis: A Novel Reprint Edition, Kindle Edition
| Don DeLillo (Author) Find all the books, read about the author, and more. See search results for this author |
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It is an April day in the year 2000 and an era is about to end. The booming times of market optimism—when the culture boiled with money and corporations seemed more vital and influential than governments— are poised to crash. Eric Packer, a billionaire asset manager at age twenty-eight, emerges from his penthouse triplex and settles into his lavishly customized white stretch limousine. Today he is a man with two missions: to pursue a cataclysmic bet against the yen and to get a haircut across town. Stalled in traffic by a presidential motorcade, a music idol’s funeral and a violent political demonstration, Eric receives a string of visitors—experts on security, technology, currency, finance and a few sexual partners—as the limo sputters toward an increasingly uncertain future.
Cosmopolis, Don DeLillo’s thirteenth novel, is both intimate and global, a vivid and moving account of the spectacular downfall of one man, and of an era.
- ISBN-13978-0743244251
- EditionReprint
- PublisherScribner
- Publication dateApril 1, 2003
- LanguageEnglish
- File size2177 KB
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Copyright 2003 Reed Business Information, Inc. --This text refers to the audio_download edition.
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Excerpt. © Reprinted by permission. All rights reserved.
Sleep failed him more often now, not once or twice a week but four times, five. What did he do when this happened? He did not take long walks into the scrolling dawn. There was no friend he loved enough to harrow with a call. What was there to say? It was a matter of silences, not words.
He tried to read his way into sleep but only grew more wakeful. He read science and poetry. He liked spare poems sited minutely in white space, ranks of alphabetic strokes burnt into paper. Poems made him conscious of his breathing. A poem bared the moment to things he was not normally prepared to notice. This was the nuance of every poem, at least for him, at night, these long weeks, one breath after another, in the rotating room at the top of the triplex.
He tried to sleep standing up one night, in his meditation cell, but wasn't nearly adept enough, monk enough to manage this. He bypassed sleep and rounded into counterpoise, a moonless calm in which every force is balanced by another. This was the briefest of easings, a small pause in the stir of restless identities.
There was no answer to the question. He tried sedatives and hypnotics but they made him dependent, sending him inward in tight spirals. Every act he performed was self-haunted and synthetic. The palest thought carried an anxious shadow. What did he do? He did not consult an analyst in a tall leather chair. Freud is finished, Einstein's next. He was reading the Special Theory tonight, in English and German, but put the book aside, finally, and lay completely still, trying to summon the will to speak the single word that would turn off the lights. Nothing existed around him. There was only the noise in his head, the mind in time.
When he died he would not end. The world would end.
He stood at the window and watched the great day dawn. The view was across bridges, narrows and sounds and out past the boroughs and toothpaste suburbs into measures of landmass and sky that could only be called the deep distance. He didn't know what he wanted. It was still nighttime down on the river, half night, and ashy vapors wavered above the smokestacks on the far bank. He imagined the whores were all fled from the lamplit corners by now, duck butts shaking, other kinds of archaic business just beginning to stir, produce trucks rolling out of the markets, news trucks out of the loading docks. The bread vans would be crossing the city and a few stray cars out of bedlam weaving down the avenues, speakers pumping heavy sound.
The noblest thing, a bridge across a river, with the sun beginning to roar behind it.
He watched a hundred gulls trail a wobbling scow downriver. They had large strong hearts. He knew this, disproportionate to body size. He'd been interested once and had mastered the teeming details of bird anatomy. Birds have hollow bones. He mastered the steepest matters in half an afternoon.
He didn't know what he wanted. Then he knew. He wanted to get a haircut.
He stood a while longer, watching a single gull lift and ripple in a furl of air, admiring the bird, thinking into it, trying to know the bird, feeling the sturdy earnest beat of its scavenger's ravenous heart.
He wore a suit and tie. A suit subdued the camber of his overdeveloped chest. He liked to work out at night, pulling weighted metal sleds, doing curls and bench presses in stoic repetitions that ate away the day's tumults and compulsions.
He walked through the apartment, forty-eight rooms. He did this when he felt hesitant and depressed, striding past the lap pool, the card parlor, the gymnasium, past the shark tank and screening room. He stopped at the borzoi pen and talked to his dogs. Then he went to the annex, where there were currencies to track and research reports to examine.
The yen rose overnight against expectations.
He went back up to the living quarters, walking slowly now, and paused in every room, absorbing what was there, deeply seeing, retaining every fleck of energy in rays and waves.
The art that hung was mainly color-field and geometric, large canvases that dominated rooms and placed a prayerful hush on the atrium, skylighted, with its high white paintings and trickle fountain. The atrium had the tension and suspense of a towering space that requires pious silence in order to be seen and experienced properly, the mosque of soft footfall and rock doves murmurous in the vaulting.
He liked paintings that his guests did not know how to look at. The white paintings were unknowable to many, knife-applied slabs of mucoid color. The work was all the more dangerous for not being new. There's no more danger in the new.
He rode to the marble lobby in the elevator that played Satie. His prostate was asymmetrical. He went outside and crossed the avenue, then turned and faced the building where he lived. He felt contiguous with it. It was eighty-nine stories, a prime number, in an undistinguished sheath of hazy bronze glass. They shared an edge or boundary, skyscraper and man. It was nine hundred feet high, the tallest residential tower in the world, a commonplace oblong whose only statement was its size. It had the kind of banality that reveals itself over time as being truly brutal. He liked it for this reason. He liked to stand and look at it when he felt this way. He felt wary, drowsy and insubstantial.
The wind came cutting off the river. He took out his hand organizer and poked a note to himself about the anachronistic quality of the word skyscraper. No recent structure ought to bear this word. It belonged to the olden soul of awe, to the arrowed towers that were a narrative long before he was born.
The hand device itself was an object whose original culture had just about disappeared. He knew he'd have to junk it.
The tower gave him strength and depth. He knew what he wanted, a haircut, but stood a while longer in the soaring noise of the street and studied the mass and scale of the tower. The one virtue of its surface was to skim and bend the river light and mime the tides of open sky. There was an aura of texture and reflection. He scanned its length and felt connected to it, sharing the surface and the environment that came into contact with the surface, from both sides. A surface separates inside from out and belongs no less to one than the other. He'd thought about surfaces in the shower once.
He put on his sunglasses. Then he walked back across the avenue and approached the lines of white limousines. There were ten cars, five in a curbside row in front of the tower, on First Avenue, and five lined up on the cross street, facing west. The cars were identical at a glance. Some may have been a foot or two longer than others depending on details of the stretch work and the particular owner's requirements.
The drivers smoked and talked on the sidewalk, hatless in dark suits, sharing an alertness that would be evident only in retrospect when their eyes went hot in their heads and they shed their cigarettes and vacated their unstudied stances, having spotted the objects of their regard.
For now they talked, in accented voices, some of them, or first languages, others, and they waited for the investment banker, the land developer, the venture capitalist, for the software entrepreneur, the global overlord of satellite and cable, the discount broker, the beaked media chief, for the exiled head of state of some smashed landscape of famine and war.
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 attachés.
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 c...
--This text refers to an alternate kindle_edition edition.Product details
- ASIN : B000FBJHEO
- Publisher : Scribner; Reprint edition (April 1, 2003)
- Publication date : April 1, 2003
- Language : English
- File size : 2177 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Print length : 224 pages
- Page numbers source ISBN : 145168939X
- Best Sellers Rank: #637,551 in Kindle Store (See Top 100 in Kindle Store)
- #364 in Literary Satire Fiction
- #1,305 in Satire Fiction
- #3,531 in TV, Movie & Game Tie-In Fiction
- Customer Reviews:
About the author

Don DeLillo is the author of fifteen novels, including Zero K, Underworld, Falling Man, White Noise, and Libra. He has won the National Book Award, the PEN/Faulkner Award for Fiction, the Jerusalem Prize for his complete body of work, and the William Dean Howells Medal from the American Academy of Arts and Letters. In 2010, he was awarded the PEN/Saul Bellow Prize. The Angel Esmeralda was a finalist for the 2011 Story Prize and the PEN/Faulkner Award for Fiction. In 2012, DeLillo received the Carl Sandburg Literary Award for his body of work.
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On the one hand, I found myself completely sucked into the idea of Eric's journey: the mocking absurdity of his 24-hour trek from one side of midtown Manhattan to the other, simply to get a haircut and to find the meaning of life; the comic ludicrousness of his adventures; the unexpected and random brutality of the final chapters. There are scenes that stop just short of dazzling in their acidic humor, like Eric's proctology exam conducted inside the limousine while he faces his financial adviser, sweaty from her morning jog. And things become weirdly poignant (almost) when Eric whimsically joins his wife amidst dozens of nude extras lying on the street for the filming of a movie.
On the other hand, the novel seems to beg the reader for relevance; it's as if DeLillo went into a coma during the Sixties and, lately emerged, can't begin to comprehend the excess and the nonsense of modern America. Like the novel's billionaire protagonist waging his fortune against the rise of the yen, DeLillo bets that his readers will know virtually nothing about financial markets or how they work or who works them. As a result, the post-nihilistic, New Age dialogue is peppered with meaningless word clouds salvaged from a day's viewing of CNBC. "Don't trust standard models. Think outside the limits. The yen is making a statement. Read it. Then leap," says the Master to an analyst with "advanced degrees in mathematics and economics"--who for some reason doesn't slap Eric for insulting his intelligence (and ours). Stuff like this has neither the plausibility of market-talk nor the incisiveness of parody.
Eric Packer's self-constructed existence as a Master of the Universe is largely beside the point, anyway; the satire is so broad (capitalists and their hubris, youth and their short attention spans, technology and its impersonal ubiquity, the urban jungle and its hazards) that DeLillo might just as well have made his antihero an overpaid baseball player, a corrupt politician, or a music mogul--any of whom are far more likely to be caught dead in a white limousine in the first place. At the end of "Cosmopolis," we are, I suppose, expected to fathom the emptiness of Eric's life ("The things that made him who he was could hardly be identified much less converted to data"), but DeLillo has created not a man but a cipher that not even he, its creator, seems to understand.
Meanwhile, the second major character introduced in Part One is Benno Levin, a former trader and generic laborer at Packer Capital, who lost his job. Thinks Benno: "There are great themes running through my mind. The themes of loneliness and human discard. The theme of who do I have when there's no one left."
In Part Two, DeLillo examines the tropism toward destruction and death in these two characters. In Eric's case, this tropism manifests as his huge bet on the Yen gradually sours. Then, DeLillo seems to ask: If a man like Eric can't win, will he attempt to take the system down with him? In contrast, the plight of Benno, who was trashed by Eric's cyber-capitalism, represents a different question. Namely: Is there anything a victim of capitalism can do that actually rights the ruthless wrongs inherent to the system?
COSMOPOLIS is a surrealistic satire that is tersely hilarious. It begins with the sleepless Eric in his 48-room apartment near the FDR Drive, where he enjoys an atrium, screening room, and shark tank, and ends in an abandoned tenement near the West Side Highway where the characters have no roles to play in life. Along this riches-to-rags continuum, DeLillo supplies innumerable instances of amazing writing and insight. The man, truly, expands what you see. Here, for example, is Eric during his confrontation with Benno.
"He'd always wanted to become quantum dust, transcending his body mass, the soft tissue over the bones, the muscle and fat. The ideas was to live outside the given limits, in a chip, on a disk, as data, in whirl, in radiant spin, a consciousness saved from void...It would be the master thrust of cyber-capital, to extend the human experience toward infinity as a medium for corporate growth and investment, for the accumulation of profits and vigorous reinvestment."
This is not my favorite DeLillo novel. But COSMOPOLIS has great insight and style and is eerily prescient about risk taking on Wall Street, which, like the hubristic Eric Packer, is clearly willing to risk and embrace economic meltdown for big paydays.
Recommended.
Top reviews from other countries
Many people have said in their reviews that the main character, Eric Packer, is bland and boring but I think that's the whole point of the novel! He's meant to be cold and souless, with the people around him having more life in them during their tiny moments within the book.
I've never read a book that's written in such a matter-o-fact way, and that's why I liked the book. It was very unique and I really enjoyed seeing a different way of writing.
The book was really interesting and gripping in a bizarre way. It gives you things to think about, and therefore I definitely recommend that you give this book a go.
That's not to mention the boring storyline...














