In the last pages of Underworld, two nuns pay a visit to a gay man, Ismael, who lives among the poor in the Bronx. One of the nuns seems disappointed that, notwithstanding his sexual inclinations, Ismael appears cheerful and in good health. He shows them how he has jerry-rigged an electrical current sufficient to run a TV in the abandoned building in which some homeless orphans take shelter. It involves a generator and a kid pedaling a stationary bike. The channel that comes on is a cable business show; switching the channel requires a surge that the kid on the bike isn't able to muster. DeLillo writes:
On the screen an image flicks and jumps. It is a man's discoid head, a fellow in a white shirt with blue collar, or blue shirt with white collar—there is a fairly frequent color shift. He is talking about the big board composite while numbers and letters flow in two bands across the bottom of the screen, a blue band and a white band, and the crew sits watching and the kid on the bike is bent and pedaling, a furious pumping boy, and the names and prices flow in two different directions with active issues blinking.
[Snip]
Ismael appoints four members of the crew to go with the nuns and distribute food in the area. But the crew is rooted right now. They urge Juano to pedal faster because this is the only way to change channels and they want to watch cartoons or movies, something with visuals better than a head.
They're saying, "Go, man, fasta, fasta."
The bicycle boy bends and pumps and the picture wavers briefly but then springs back to the round announcer's face and the moving lines of prices. Ismael stands there laughing. He loves the language of buying and selling and the sight of those clustered sets of letters that represent enormous corporate entities with their jets and stretches and tanker fleets. He starts pulling kids off the cushionless sofa and stone-slinging them toward the door while the other kids keep urging Juano on.
They're saying, "Fasta, fasta, you the man."
The boy cranks and strains, bouncing on the seat, but the numbers keep flowing across the screen. Electronics slightly up, transports down, industrials more or less unchanged.
Eight hundred pages earlier, when the novel opens, it had been around 40 years earlier, 1951, and some non-baseball fan, bored in the upper deck of the Polo Grounds during the game in which Bobby Thomson would hit his famous homer, is tearing pages out of a Life magazine and letting them flutter down into the lower deck, where the print advertisements for stuff for sale fall upon J Edgar Hoover, guest of Giants manager Leo Durocher and the director of the FBI. Hoover is thinking about nuclear war. It's natural to wonder about the author of this "material"—according to the Wikipedia article, he was raised in an Italian Catholic family in the Bronx, and attended Fordham University, a Jesuit school with its flagship campus in the Bronx. The first twenty-some years of his life are Catholicism and the Bronx. At the very end of Underworld, one of the forsaken kids, the beautiful and elusive Esmeralda, is raped and killed, her body tossed off the roof of a building. The nun who had studied Ismael for signs of God's judgment upon him is devastated:
She sees nothing for the rest of that day and the day after and the two or three weeks after that. She sees the human heart exposed like a pig's muscle on a slab. That's the only thing she sees. She believes she is falling into crisis, beginning to think it is possible that all creation is a spurt of blank matter that chances to make an emerald planet here, a dead star there, with random waste between. The serenity of immense design is missing from her life, authorship and moral form. . . .
That Life magazine issue had included, in an article about "the glories of the Prado," a reproduction of Bruegel's The Triumph of Death, painted in 1564. This glossy page too falls on Hoover, along with the advertisements, and makes a strong impression on him. The stricken nun has the unusual name Sister Edgar, which tends to link her to the gay director of the FBI whose ruminations on Soviet missiles during a baseball game are interrupted by The Triumph of Death. As Underworld closes, it's tempting to think DeLillo's object was to create a kind of 20th-century American analog to Bruegel's painting, which, when it alights on Hoover, is described as "a landscape of visionary havoc and ruin." Hoover is at first annoyed, can't understand why there'd be such a picture in a magazine called Life, but he can't stop looking at it.