Underworld: A Novel Trade Paperback Edition
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Finalist for the National Book Award
Finalist for the National Book Critics Circle Award
Winner of the Howell’s Medal of the American Academy of Arts and Letters
One of The New York Times Book Review’s 10 Best Books
“A great American novel, a masterpiece, a thrilling page-turner.” —San Francisco Chronicle
*With a new preface by Don DeLillo on the 25th anniversary of publication*
Don DeLillo's mesmerizing novel was a major bestseller when it was published in 1997 and was the most widely reviewed novel of the year. It opens with a legendary baseball game played between the Brooklyn Dodgers and the New York Giants in 1951. The home run that won the game was called the Shot Heard Round the World, and was shadowed by the terrifying news that on the same day, Russia tested its first hydrogen bomb. Underworld then tells the story of Klara Sax and Nick Shay, and of a half century of American life during the Cold War and beyond.
“A dazzling, phosphorescent work of art.” —Michiko Kakutani, The New York Times
“This is a novel that draws together baseball, the Bomb, J. Edgar Hoover, waste disposal, drugs, gangs, Vietnam, fathers and sons, comic Lenny Bruce and the Cuban Missile Crisis. It also depicts passionate adultery, weapons testing, the care of aging mothers, the postwar Bronx, '60s civil rights demonstrations, advertising, graffiti artists at work, Catholic education, chess and murder. There's a viewing of a lost Eisenstein film, meditations on the Watts Tower, an evening at Truman Capote's Black & White Ball, a hot-air balloon ride, serial murders in Texas, a camping trip in the Southwest, a nun on the Internet, reflections on history, one hit (or possibly two) by the New York mob and an apparent miracle. As DeLillo says and proves, ‘Everything is connected in the end.’" —Michael Dirda, The Washington Post Book World
“Underworld is an amazing performance, a novel that encompasses some five decades of history, both the hard, bright world of public events and the more subterranean world of private emotions. It is the story of one man, one family, but it is also the story of what happened to America in the second half of the 20th century.” —The New York Times
“Astonishing…A benchmark of twentieth-century fiction, Underworld is stunningly beautiful in its generous humanity, locating the true power of history not in tyranny, collective political movements or history books, but inside each of us.” —Greg Burkman, The Seattle Times
“It’s hard to imagine a way people might better understand American life in the second half of the twentieth century and beginning of the twenty-first than by reading Don DeLillo. The scale of his inquiry is global and historic… His work is astounding, made of stealthy blessings… it proves to my generation of writers that fiction can still do anything it wants.” —Jennifer Egan, in her presentation of the Medal for Distinguished Contribution to American Letters
“Underworld is a page-turner and a masterwork, a sublime novel and a delight to read.” —Joan Mellen, The Baltimore Sun
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Editorial Reviews
Review
"Underworld surges with magisterial confidence through time and through space." —Martin Amis, The New York Times Book Review
"The sheer size of the imaginative act and the beauty of its imagery are what is so impressive about this novel…. Underworld is a magnificent book by an American master." —Salman Rushdie
"Utterly extraordinary ... in its epic ambition and accomplishment, Underworld calls out for comparison with works that have defined the consciousness of their age." —Melvin Jules Bukiet, Chicago Tribune Books
"You pick up and travel with DeLill o anywhere—the bliss of a baseball game, the meeting of old lovers in a desert. He offers us another history of ourselves. He smells the music in argument and brag. He throws the unbitten coin of fame back at us. This book is an aria and a wolf-whistle of our half-century. It contains multitudes." —Michael Ondaatje
"DeLillo understands the capacity of words to elevate us above the mundane, to establish a distance from things and a mastery over them, a power emerging from the capacity given to Adam, the ability to name." —Steven E. Alford, Houston Chronicle
"Reading DeLillo's books bolsters our belief in the art of fiction: one bright shining sentence after another." —Paul Elie, Elle
"For those who love eloquent prose and powerful ideas, Underworld is an eight-course meal. .. . A n eye-opener, a consciousness-raising treatise on modern America by a writer in love with the power of words." —Dorman T. Shindler, The Denver Post
"Underworld soars. Bigger and richer than anything Do n DeLillo has done before, this multicharacter, time-leaping, sea-to-shining-sea dissection of American life is perilously good—so good, so strong, deep, knowing and funny." —Phil Hanrahan, Milwaukee Journal Sentinel
"Underworld, DeLillo's richest and most ambitious novel, seeks nothing less than the secret truths of modern America. " —Gary Lee Stonum, The Plain Dealer
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
We were about thirty miles below the Canadian border in a rambling encampment that was mostly barracks and other frame structures, a harking back, maybe, to the missionary roots of the order -- except the natives, in this case, were us. Poor city kids who showed promise; some frail-bodied types with photographic memories and a certain uncleanness about them; those who were bright but unstable; those who could not adjust; the ones whose adjustment was ordained by the state; a cluster of Latins from some Jesuit center in Venezuela, smart young men with a cosmopolitan style, freezing their weenies off; and a few farmboys from not so far away, shyer than borrowed suits.
"Sometimes I think the education we dispense is better suited to a fifty-year-old who feels he missed the point the first time around. Too many abstract ideas. Eternal verities left and right. You'd be better served looking at your shoe and naming the parts. You in particular, Shay, coming from the place you come from."
This seemed to animate him. He leaned across the desk and gazed, is the word, at my wet boots.
"Those are ugly things, aren't they?"
"Yes they are."
"Name the parts. Go ahead. We're not so chi chi here, we're not so intellectually chic that we can't test a student face-to-face."
"Name the parts," I said. "All right. Laces."
"Laces. One to each shoe. Proceed."
I lifted one foot and turned it awkwardly.
"Sole and heel."
"Yes, go on."
I set my foot back down and stared at the boot, which seemed about as blank as a closed brown box.
"Proceed, boy."
"There's not much to name, is there? A front and a top."
"A front and a top. You make me want to weep."
"The rounded part at the front."
"You're so eloquent I may have to pause to regain my composure. You've named the lace. What's the flap under the lace?"
"The tongue."
"Well?"
"I knew the name. I just didn't see the thing."
He made a show of draping himself across the desk, writhing slightly as if in the midst of some dire distress.
"You didn't see the thing because you don't know how to look. And you don't know how to look because you don't know the names."
He tilted his chin in high rebuke, mostly theatrical, and withdrew his body from the surface of the desk, dropping his bottom into the swivel chair and looking at me again and then doing a decisive quarter turn and raising his right leg sufficiently so that the foot, the shoe, was posted upright at the edge of the desk.
A plain black everyday clerical shoe.
"Okay," he said. "We know about the sole and heel."
"Yes."
"And we've identified the tongue and lace."
"Yes," I said.
With his finger he traced a strip of leather that went across the top edge of the shoe and dipped down under the lace.
"What is it?" I said.
"You tell me. What is it?"
"I don't know."
"It's the cuff."
"The cuff."
"The cuff. And this stiff section over the heel. That's the counter."
"That's the counter."
"And this piece amidships between the cuff and the strip above the sole. That's the quarter."
"The quarter," I said.
"And the strip above the sole. That's the welt. Say it, boy."
"The welt."
"How everyday things lie hidden. Because we don't know what they're called. What's the frontal area that covers the instep?"
"I don't know."
"You don't know. It's called the vamp."
"The vamp."
"Say it."
"The vamp. The frontal area that covers the instep. I thought I wasn't supposed to memorize."
"Don't memorize ideas. And don't take us too seriously when we turn up our noses at rote learning. Rote helps build the man. You stick the lace through the what?"
"This I should know."
"Of course you know. The perforations at either side of, and above, the tongue."
"I can't think of the word. Eyelet."
"Maybe I'll let you live after all."
"The eyelets."
"Yes. And the metal sheath at each end of the lace."
He flicked the thing with his middle finger.
"This I don't know in a million years."
"The aglet."
"Not in a million years."
"The tag or aglet."
"And the little metal ring that reinforces the rim of the eyelet through which the aglet passes. We're doing the physics of language, Shay."
"The little ring."
"You see it?"
"Yes."
"This is the grommet," he said.
"Oh man."
"The grommet. Learn it, know it and love it."
"I'm going out of my mind."
"This is the final arcane knowledge. And when I take my shoe to the shoemaker and he places it on a form to make repairs -- a block shaped like a foot. This is called a what?"
"I don't know."
"A last."
"My head is breaking apart."
"Everyday things represent the most overlooked knowledge. These names are vital to your progress. Quotidian things. If they weren't important, we wouldn't use such a gorgeous Latinate word. Say it," he said.
"Quotidian."
"An extraordinary word that suggests the depth and reach of the commonplace."
His white collar hung loose below his adam's apple and the skin at his throat was going slack and ropy and it seemed to be catching him unprepared, old age, coming late but fast.
I put on my jacket.
"I meant to bring along a book for you," he said.
Copyright © 1997 by Don DeLillo
Product details
- Publisher : Scribner; Trade Paperback Edition (January 1, 2003)
- Language : English
- Paperback : 848 pages
- ISBN-10 : 0684848155
- ISBN-13 : 978-0684848150
- Item Weight : 1.83 pounds
- Dimensions : 5.25 x 2 x 8 inches
- Best Sellers Rank: #20,683 in Books (See Top 100 in Books)
- #256 in Contemporary Literature & Fiction
- #844 in Classic Literature & Fiction
- #2,039 in Literary Fiction (Books)
- 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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It begins with a 60-page prologue putting the reader at the Polo Grounds in New York on that day in October 1951 when Bobby Thompson hits a pennant-winning home run for the NY Giants off of Brooklyn Dodger pitcher Ralph Branca. It came to be called “The Shot Heard Round the World.” Though in reality the home run ball was never found, DeLillo imagines it recovered by a scrawny kid, Cotter Martin, and proceeds loosely to follow the ownership of that ball, in a sort of six-degrees of separation manner, down through the decades.
Their paths crisscross, intersect and overlap in an amazing display of literary skill. For example, on page 608 we see Charles Wainwright Jr., one time owner of the ball, navigating a B-52 bomber over Vietnam in 1969, the very same B-52 dubbed ‘Long Tall Sally’ -- with cheeky nose art to prove it -- the very same plane mothballed and depicted in the opening chapters circa 1992 as the canvas for Klara Sax and her band of desert artists. There are many such links, past, present, future.
There is nothing here in UNDERWORLD that passes for a plot. Not really. DeLillo builds his edifice with vignettes, short clipped sections, sometimes abruptly shifting in person, place and time. UNDERWORLD is visual, cinematic, in style. His dialogue, unlike any author I’ve read, rings true, authentic, and captures that pragmatic, nonverbal element in conversation, the way shared histories, context, and physical gestures fill in the gaps. And then there’s the conversations that don’t click at all, people just talking past one another.
But something else important happened on that day when Thompson hit the home run, something of a more ominous sort that would change lives: the Soviet Union exploded their first atomic bomb. Another “shot heard round the world.”
From the 1951 events, the Giants-Dodgers game and the Soviet test explosion, DeLillo jumps to 1992 and the Arizona desert and a group of artists using mothballed B-52s as their canvass. From there, the novel moves backward chronologically, back to 1951. Was this to mimic the countdown of a rocket, or atomic blast? No matter, it works. We see some of the characters in their full development in 1992, then over the next 700+ pages learn how they got that way.
It’s a huge cast of characters, many historical figures like J. Edgar Hoover, Frank Sinatra, Lenny Bruce, Jackie Gleason, and Harry Caray.
If there is an overriding theme or motif in the novel, it is the obsession with trash. Garbage. Where the home run baseball is the antithesis of trash - a treasured piece of baseball history - the atomic bomb has the ability to turn the world to trash. And then there’s the problem of the spent plutonium, that ultimate of all hazardous wastes. Even one of the main characters, Nick Shay, owner of the 1951 baseball, works for an international waste company.
The Jesuits taught me to examine things for second meanings and deeper connections. Were they thinking about waste? We were waste managers, waste giants, we processed universal waste. Waste has a solemn aura now, an aspect of untouchability. White containers of plutonium waste with yellow caution tags. Handle carefully. Even the lowest household trash is closely observed. People look at their garbage differently now, seeing every bottle and crushed carton in a planetary context. [88]
The writing is as good as it gets. And while there is certainly joy in the first reading, I’m finding it equally entertaining after turning that final page to return to the first chapters and reacquaint myself with the characters I just left, forty years older in DeLillo’s reverse chronology, and a few months after I’d begun reading. Like a lot of post-modern literature, UNDERWORLD isn’t for those looking for linear plotting, or plotting at all, for that matter. And the characters are not particularly fleshed out. But the journey is certainly worth the time and effort.
I read the whole thing and the ending was certainly not worth it. The book is overly-complicated, aimless most of the time, and reeks of intellectual pretensions. I respect the amount of effort that DeLillo put into this book, but, ultimately, the book seemed to suffer the more he tried. 'Underworld' is a meditation on the themes of the Cold War, nostalgia, and garbage. A lot of garbage. So much garbage that you could reduce this book by 500 pages and still get the point. These themes are explored through vignettes that switch between the perspectives of different characters (most of them inconsequential) and gradually go back in time, starting in 1990 and ending in the early 50s. The reader gets the sense that something momentous and revelatory will happen in the 50s section to justify the reverse-chronological storytelling. Nope. The momentous event is casually revealed much earlier in the book, and by the time we see the actual event take place, there's nothing that shocking about it considering the characters involved. Nothing in the story is worth the wait and the story seems like nothing but waiting. However, DeLillo still manages to deliver countless spectacular sentences, a great opening scene, and moments of profundity. He creates many intriguing setups throughout his novel—but hardly ever follows up in a satisfactory way. I'm afraid the grande punchline at the very end of the book doesn't justify the meandering 827 pages before it.
Other Notes:
- The Klara Sax sections in the middle just about killed me. In a book of forgettable characters, she seemed particularly flat. She's a depressed artist who likes to spend time on rooftops. And? AND???
-Many of the characters sound the same and most of them seem to be lacking any semblance of a conscience. I understand that he's trying to represent flawed, imperfect characters—trying to create real people. But the characters seem to show no remorse or consideration for the damage they're doing to their relationships whenever they cheat on their spouse). For example, Klara's fling with Nick is just strange. Nick is already shown to be somebody who cheats remorselessly and, basically, can easily get whatever he wants (which is dubious). Klara, however, appears to be utterly oblivious to the effects this would have on her young family—notably her infant daughter.
-The Lenny Bruce bits seem hit and miss. Many reviewers on here enjoyed them. I for one found them annoying and frustrating; I just wanted something, anything, significant to happen in the story.
-The reverse chronology device was pointless
-The internet is heaven…really?
-I don't like baseball, but the way DeLillo wrote about baseball made me enjoy the sport vicariously through some of the characters. I particularly enjoyed the character who collected artifacts connected to the game.
-The opening, though a bit long, was promising and made me think I was in store for an American epic. It ends with the kid, Cotter, running with the historical ball away from a fellow fan—a man who works in construction ( a common cover for the mob). Thus, considering the book's title, I thought the book would proceed from this great opening scene and heavily feature the mob. Nope.
-DeLillo tends to make a lot of grande thematic statements at once. It's overwhelming and often seems pretentious.
—The Texas Highway Killer—another plotline that disappeared halfway through the book. Well, it was interesting while it lasted.
I could go on and on. This review has been primarily negative, but to be fair, there are plenty of engaging scenes to be found throughout the book. It's just that, once again, none of it goes anywhere in a satisfying way.
Top reviews from other countries
Therefore, it goes without saying that in its writing, this is also a significant act. The craft with which Delillo reveals the characters, with the vista of the Cold War roaring across savannahs and cities throughout the US takes you to that time and place. His sense of rhythm in speech is unmatched in American writing: it is perhaps only Amis of the English writers who can compare and I am never certain if he is serious or deliberately tabloid in his patter.
The art really is in Delillo's ability to make the banal into a prism not far short of ecstasy. This is a novel about waste and rubbish, trash and garbage, which, as he says, 'will end up consuming you'. This book will have the same effect: its proclivity for consuming hours of your time, before bed, over weekends, is unmatched and unrivalled.
Its subject matter and its length make it perhaps the perfect book for our ages. It is a semi-fictional (with some real characters and places) account of the world teetering on the edge of tomorrow, with atomic warfare only moments away. Given where we are now, unable to experience the world with our senses and only through screens, means that this story is perhaps the ideal lockdown book: you will not regret reading this and it may even change the way you look at our history and your present.
A note of caution: I tried to read this book over ten years ago and couldn't manage it. Then, last summer I picked up 'White Noise' and worked through Delillo's work before ending up with this. I would recommend, if you are unfamiliar with his writing to try 'White Noise', 'Mao II' or 'Libra' before this as they are more 'conventional' in the sense that they tell a tale through their progressive narrative. You won't be disappointed with any of these, but I believe that Underworld stands apart as the most significant act by one of the world's greatest living writers in the English language.









