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The narrative emphasizes collective longing, anonymity, and civic motion—then turns to chaotic, high-stakes gatecrashing as boys shout, hurdle turnstiles, and face injury and capture. Urban textures, atmosphere, and fatal urgency frame the broader themes of death, history, and memory.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":10,"@type":76,"position":81},"https://docshare.wps.com/document/story-novel/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/underworld-prologue-the-triumph-of-death/143941/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/underworld-prologue-the-triumph-of-death/143941.png","ImageObject",300,407,{"name":92,"@type":93},"Eden","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-04","2026-08-25",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",57,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"Prologue讲述的主要时间和场景是什么？","Question",{"text":113,"@type":114},"故事发生在一个阴沉的学校日，地点是城市中的体育场外，围绕看球入口等待并发起冲入。","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"Cotter Martin 在开场扮演什么角色？",{"text":118,"@type":114},"Cotter Martin是十四岁的最年轻参与者之一，他第一次这样做，因贫困而加入冲关人群。",{"name":120,"@type":111,"acceptedAnswer":121},"冲入转门和检票口的过程如何展开？",{"text":122,"@type":114},"参与者在紧张等待后冲过转门，出现碰撞、跌落和被制服的混乱场面，叙事强调“同时发生”的失控与危险。","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},143941,1787697624,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":8,"category_name":10,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":130,"read_time":145},1374391974468,"https://ap-avatar.wpscdn.com/davatar_29158cc5080c5b710cf443261637dec0","ALSO BY DON DELILLO AMERICANA  \nEND ZONE  \nGREAT JONES STREET RATNER’S STAR PLAYERS  \nRUNNING DOG  \nTHE NAMES WHITE NOISE LIBRA  \nMAO II DON DELILLO  \nSCRIBNER PAPERBACK FICTION Simon & Schuster Inc.  \nRockefeller Center  \n1230 Avenue of the Americas New York, NY 10020  \nThis book is a work of fiction. Names, characters, places, and incidents either are products of the author ’s imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead,  \nis entirely coincidental.  \nCopyright © 1997 by Don DeLillo  \nAll rights reserved, including the right of reproduction in whole or in part in  \nany form.  \nFirst Scribner Paperback Fiction edition 1998 SCRIBNER PAPERBACK FICTION and design are trademarks of Simon & Schuster Inc.  \nDESIGNED BY ERICH HOBBING Set in Electra  \nManufactured in the United States of America 1 3 5 7 9 10 8 6 4 2 The Library of Congress has cataloged the Scribner edition as follows:  \nDeLillo, Don.  \nUnderworld / Don DeLillo.  \n[p. cm](p. cm).  \nI. Title.  \nPS3554 .E4425U53 1997 813’.54—dc21 97-13825  \nCIP  \nISBN 0-684-84269-6 0-684-84815-5 (Pbk) Portions ofthe work were previously published, in different form, in Harper ’s, Esquire, Antaeus and The New Yorker.  \nTo the memory of my mother and father  \nPROLOGUE The Triumph Of Death  \nHe speaks in your voice, American, and there’s a shine in his eye  \nthat’s halfway hopeful.  \nIt’s a school day, sure, but he’s nowhere near the classroom. He wants tobe here instead, standing in the shadow of this old rust-hulk of a structure, and it’s hard to blame him—this metropolis of steel and concrete and flaky paint and cropped grass and enormous Chesterfield packs aslant on the scoreboards, a couple of cigarettes jutting from each.  \nLonging on a large scale is what makes history. This is just a kid with a local yearning but he is part of an assembling crowd, anonymous thousands off the buses and trains, people in narrow columns tramping over the swing bridge above the river, and even if they are not a migration or a revolution, some vast shaking of the soul, they bring with them the body heat of a great city and their own small reveries and desperations, the unseen something that haunts the day—men in fedoras and sailors on shore leave, the stray tumble of their thoughts, going to a game.  \nThe sky is low and gray, the roily gray of sliding surf.  \nHe stands at the curbstone with the others. He is the youngest, at fourteen, and you know he’s flat broke by the edgy leaning look he hangson his body. He has never done this before and he doesn’t know any of the others and only two or three of them seem to know each other but they can’t do this thing singly or in pairs so they have found one another by means of slidy looks that detect the fellow foolhard and here they stand, black kids and white kids up from the subways or off the local Harlem streets, lean shadows, bandidos, fifteen in all, and according to topical legend maybe four will get through for every one that’s caught.  \nThey are waiting nervously for the ticket holders to clear the turnstiles, the last loose cluster of fans, the stragglers and loiterers. They watch the late-arriving taxis from downtown and the brilliantined men stepping dapper to the windows, policy bankers and supper club swells and Broadway hotshots, high aura’d, picking lint off their mohair sleeves. They stand at the curb and watch without seeming to look, wearing the sourish air of corner hangabouts. All the hubbub has died down, the pregame babble and swirl, vendors working the jammed sidewalks waving scorecards and pennants and calling out in ancient singsong, scraggy men hustling buttonsand caps, all dispersed now, gone to their roomlets in the beaten streets.  \nThey are at the curbstone, waiting. Their eyes are going grim, sending out less light. Somebody takes his hands out of his pockets. They are waiting and then they go, one of them goes, a mick who shouts Geronimo.  \nThere are four turnstiles","cbCais8n5bB1QWYB","https://ap.wps.com/l/cbCais8n5bB1QWYB","pdf",3360080,728,"English","# Prologue\n## The Triumph Of Death","[{\"question\":\"Prologue讲述的主要时间和场景是什么？\",\"answer\":\"故事发生在一个阴沉的学校日，地点是城市中的体育场外，围绕看球入口等待并发起冲入。\"},{\"question\":\"Cotter Martin 在开场扮演什么角色？\",\"answer\":\"Cotter Martin是十四岁的最年轻参与者之一，他第一次这样做，因贫困而加入冲关人群。\"},{\"question\":\"冲入转门和检票口的过程如何展开？\",\"answer\":\"参与者在紧张等待后冲过转门，出现碰撞、跌落和被制服的混乱场面，叙事强调“同时发生”的失控与危险。\"}]","Underworld - Prologue - The Triumph Of Death | PDF",1121]