The allegorical import behind Don DeLillo's 2003 novel.
by JOSEPH VOGL
A screen capture from the 2012 film adaptation of Don DeLillo's Cosmopolis.
It happened in New York on an April day in the year 2000. The Twin Towers of the World Trade Center were still standing. The American economy had been growing non-stop for more than a hundred months; the Dow Jones Industrial Index had just climbed above 11,000 points to reach an all-time high, while electronic trade on the NASDAQ was rallying steadily. After a sleepless night, a twenty-eight-year-old billionaire fund manager decides to leave his apartment on Manhattan’s East Side to go to a hairdresser on the shabby West Side, his part of town as a child. He rides down in one of the private elevators and climbs into his white armor-plated stretch limousine and heads to Forty-seventh Street, passing one high-rise apartment building after another. As the night wears on, our protagonist gets caught up in a series of adventures and complications that may rightly be called an odyssey.
With this strange story, Don DeLillo’s 2003 novel takes us right into the arena of the modern financial market.
On the way, the fund manager meets his wife and one or other of his mistresses. There is a report that the IMF director has been murdered, and likewise a Russian oligarch, a media entrepreneur, who had been a friend of this young billionaire. Crawling through the traffic, the limousine crosses Park and Madison Avenues, drives through the old Jewish neighborhood and reaches the Broadway theater district, only to be trapped in the chaos of an anti-globalization protest. A bomb explodes at the entrance to an investment bank; as a young man sets himself on fire, our speculator looks on, unaware that he himself will soon fall victim to a pie attack. Suddenly, and for no particular reason, he kills his chief of security and reaches his childhood hairdresser’s near the docks. Then, equally inexplicably and abruptly, he leaves the hairdresser, gets involved with three hundred naked extras in a late-night film shoot, and coincidentally runs into his wife for the last time. An ex-colleague is waiting for him in a deserted ruin, and this man, he must finally understand, will be his murderer.