The characteristic strongest in Running Dog is ominous suspense, a coming-to from any angle. While it suffers from the De Lillo style of excessive psycho-analysis/stream of consciousness association, it is made up of meetings, usually between two people, sometimes three, in varied and interesting places.
An airplane sauna, in a car heading south on a straight highway, a Nude Reading room, an art gallery/apartment, a vollyball court in Central Park where tennis is being played, a limousine with St. Bernard puppies, a fire escape, magazine offices, an abandoned espionage training facility, a motel in the woods, a minibus, Capitol Hill, a Georgetown home, an apartment roof, and more.
At these places peoples jockey for information or sexual connection, seeking the treasure which incites them all, directly and indirectly into a void of contact and codes.
I found Running Dog engrossing, and was amazed at De Lillo's capacity for langauge and image. His dialogue scenes begin without formality and are influenced as much by the memory or his characters as their present intentions.
Searching for a long lost film which may or may not come to rank as a legendary smut film, over a dozen characters cross paths in attempts toward victory and knowledge. Time and space shifts across the country, and an America of double and triple dealings, hidden collections and taboo tastes, lost and won partnerships skirts along toward understood oblivion.