Bill as Mao
Though the comparison is not directly made in the novel, Bill Gray is a metaphor for Chairman Mao and vice versa. Both are figures capable of inspiring individuals to take drastic actions and sacrifices. For example, Scott obsessively tracks Bill's whereabouts for months and eventually devotes his life to helping Bill. The same is eventually true for Karen, and the two come to worship Bill. This is comparable, albeit on a much smaller scale, to the cult of personality surrounding the Chinese leader. Furthermore, like Warhol's image of Mao, the photo of Bill is deeply sought after. People desire a pictorial representation of Bill just as Warhol did with Mao. As well, like Mao, this photo is an attempt to capture his essence and preserve his legacy.
This metaphor could be extended to Ayatollah Khomeini and Sun Myung Moon (the founder of the Unification Church) who are both featured in the novel. They are all figures to which others dedicate themselves and their devotion. They are all those that inspire radical action, a trend which DeLillo believes will only increase as the modern era continues onward.
The Unification Church as the Maoists
In Mao II, DeLillo presents collective identity as a transitive entity. The properties that relate to one group may equally apply to another association, no matter how variegated their construction and intention. This is true in the case of the Unification Church, of which Karen is a member, and the radical Maoists. One is a religious group and the other is a branch of political ideology, but DeLillo gestures to commonalities between the two groups. They both require their adherents to make great sacrifices, including their free will and independence. The Unification Church members life in near-poverty, working all day for no pay, whereas the Maoists take hostages and set off bombs. Though they are remarkably different in their actions and beliefs yet they are equal depositories of faith, devotion, and drastic action.
Bill's Novel as the Disfigured Body
Bill has visions of his completed, but imperfect, novel as a physical form that stalks and haunts him. It is a disfigured mass, like something out of a horror film. He is incapable of escaping this being, even as he travels to London and Cyprus. Here DeLillo may be representing his own views of writing and authorship. It is a vocation that plagues the participant, becoming a domineering, almost physical, presence in the life of the struggling writer. Writing is not something that the writing masters, but something that has mastery over the writer.
The Prisoner as the Universal Victim
Throughout the novel, the actions of radical and fanatic adherents to various dogmas are covered, yet the effects of these actions are rarely presented. The notable exception is the case of the Swiss hostage. His imprisonment and torture are the direct result of the Maoism of Abu Rashid's terrorist group. They are so dedicated to their belief and their ideology, they are willing to commit horrific acts against innocent victims such as the Swiss writer. His suffering is expounded in great detail. In this sense, he is a metaphor for all the suffering that occurs at the hands of fanaticism that is so often overlooked.
Bill as Veterinarian as Translators of Fact
After Bill has been hit by a car, he seeks the medical advice of veterinarians. This is a peculiar choice given that these professionals primarily deal with animals. Nonetheless, the veterinarians offer spirited and detailed advice. They are translating their information of animals to the human body, or, more directly, Bill's body. In the same sense, Bill translates information of the real world to the page. This is a metaphor for the ways in which fact and truth are represented in literature. DeLillo suggests that such entities are not accurate or certain, but rather translations and reconfigurations. Perfect factum and representation are impossible, and asking a veterinarian for medical advice is satisfactory enough.
