Don DeLillo - Libra

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For a few years, this book was everywhere-if by everywhere one means used bookstore shelves and remainder tables-a very visible reminder of what happens when the publishing industry misjudges a print run. I bought three or four copies of the book, not because I didn't remember buying it but because every six months the price would be even lower. The copy I read was a two dollar paperback, but I'm sure there's the dollar hardcover still on my shelves, probably right next to where the three dollar and four dollar hardcovers used to sit. Stupidly, I assumed that this meant Libra was a bad book, an assumption my seven dollar copy of Infinite Jest should have disproved. But even after reading and enjoying White Noise, I didn't think of reading Libra. Only recently, scrambling around on my shelves for prose that would actually inspire me, did I pick it up. I'm ashamed to admit I was desperate, yet the shame is mitigated by the rewards I received.
Libra is proof that the best authors can do anything they want. A book about Lee Harvey Oswald, Libra manages to get into Oswald's head and yet leave him a mystery because DeLillo knows the degree to which some men are enigmas even to themselves. A book about the history of event, and the John F. Kennedy assassination, Libra is also a study of the men who shape history, and the men who record history. And best of all, a book about society and the forces sweeping through it, Libra feels like a personal statement, an honest challenge to measure oneself, an expression of intimacy in recounting an event in which so many have lost themselves by creating paranoid spirals that are both joyous and dreadful celebrations of the helplessness of the self.
DeLillo accomplishes this by doing what I believe is a fairly radical act: daring to empathize with Lee Harvey Oswald (I can't help but think this is what led George Will to denounce Libra as "an act of literary vandalism and bad citizenship"). I barely know anything about DeLillo, and yet even to me, the very first section, In The Bronx, a section that opens with an anonymous "he" riding the subway to the ends of the city ("There was so much iron in the sound of those curves he could almost taste it, like a toy you put in your mouth when you are little."), seems an acknowledgment of equivalency-DeLillo grew up in the Bronx, and generously gives young Oswald, who is living there at the book's opening, the keenly observed details only a longtime resident or a talented artist might notice. From this, DeLillo measures Oswald's meandering grasping life in terms with which any struggling artist, feeling adrift and alone in the grip of a desire to accomplish something great, could identify. (Until finally, after the shooting of Kennedy, Oswald making his way through the poor section of Dallas avoiding police, there is this: "A dozen old hair-drying machines stood along the curbside. A mattress on a lawn. He wanted to write short stories about contemporary American life.") By the end, DeLillo gives us Oswald as someone almost like Kafka's hunger artist ("He is commenting on the documentary footage even as it is being shot. Then he himself is shot, and shot, and shot, and the look becomes another kind of knowledge. But he has made us part of his dying."), revealing the horror of art and its motivations when they cannot escape into art's abstract realm.
Libra also considers the men who might have been involved in the plot to kill a president, moving inside the heads of George de Mohrenschildt, crime lord Carmine Latta, Jack Ruby, Agency spook T.J. Mackey and most stunningly David Ferrie, the odd hairless man somehow always at the center of everything. Ferrie was a man who might have been famously eccentric on his own, what with his rare disease that rendered him completely hairless, and resultant crazy wigs and glued on eyebrows, and pilot's uniforms, and open homosexuality, and links to crime figures, gunrunners, and other figures not normally given to mingling with openly gay wig-wearing hairless men. He feels fully like a literary creation, endlessly chattering on about death, about cancer, about fear, about ESP and hypnotism and astrology, but David Ferrie was a very real figure-one whom DeLillo manages to recreate so completely it feels like an act of utter invention.
And so, mirroring DeLillo, there's Win Everett, a CIA man disgraced by his role in the Bay of Pigs disaster, who hatches the Kennedy assassination plot and similarly finds himself creating a man who already exists. (Everett creates forged documents and fake items to cast Oswald's life in a strangely ambiguous light, so that investigators will continue to follow all the twisting paths to the truths Everett wishes them to discover. But he finds that Oswald, independently of Everett, is creating such a life already, following Everett's plans without actually knowing them.) In the shadow of retirement, Everett plans to refire his countrymen's passion for a democratic Cuba by using a failed assassination attempt on Kennedy; an attempt that, in the following investigation, will also throw light on the CIA's role (and his own) in the overthrow of Cuba. Everett is the artist at another extreme, safely installed in American culture (married, with a young daughter, teaching at Texas Women's University), and yet also plotting to change the way Americans see America, with a plan that, like the best literature, mixes the deeply personal with the sweepingly resonant. It is Everett that observes: "Plots carry their own logic. There is a tendency of plots to move toward death. He believed that the nature of death is woven into the nature of every plot. A narrative plot no less than a conspiracy of armed men." It is, of course, the observation of a writer.
Everett's twin is Nicholas Branch, a present-day senior analyst of the CIA, hired by them on contract to write the secret history of the assassination of President Kennedy. Branch is thus both a writer and literary critic of historic event: "Let's devote our lives to understanding this moment, separating the elements of each crowded second. We will build theories that gleam like jade idols, intriguing systems of assumption, four-faced, grateful." Throughout most of the book, a section on Branch usually immediately follows or precedes a section on Everett, joining them in the reader's mind, and it is Branch who gets the lines Kennedy conspiracy theorists (of which I could consider myself, if there is a weight division below "piker") will find the richest, such as referring to the Warren Report as "the megaton novel James Joyce would have written if he'd moved to Iowa City and lived to be a hundred" and commenting on how different Oswald looks from one photo to the next. (I laughed out loud at the description of a famous photo of Oswald as a marine, with a group of fellow marines on a rattan mat under palm trees: "Four or five men face the camera. They all look like Oswald. Branch thinks they look more like Oswald than the figure in profile, officially identified as him." This was doubly funny to me having just seen the photo on the web, the day before I read that section, and, without registering it, having thought the same thing.) (Of course, now, just a few days later, I can't find that photo online anymore.)
And it is through Branch, I think, that DeLillo writes the lines emphasizing how the creation of event and the creation of fiction are conjoined. Referring to Branch's paper-laden workroom, there is this: "This is the room of dreams, the room where it has taken him all these years to learn that his subject is not politics or violent crimes but men in small rooms." The men in Libra, including Lee Harvey Oswald, are such men, as are all writers. But Libra is all too aware of how such men, like Branch himself (in his small room seeing his subject as men in small rooms), and perhaps like all men, are ultimately only capable of writing on the vast skein of reality not what they do know, but merely tacit admissions of everything they don't know-about themselves and about the world, and about the strange vector where the two unknown variables meet, creating the ambiguous equations of history.

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After some hours the horror became mechanical. They kept racking film, running shadows through the machine. It was a process that drained life from the men in the picture, sealed them in the frame. They began to seem timeless to her, identically dead.

Larry was in the cellar cataloguing wines.

She began to cry again. She wanted to crawl out of the room. But something held her there. It was probably Oswald. There was something in Oswald's face, a glance at the camera before he was shot, that put him here in the audience, among the rest of us, sleepless in our homes-a glance, a way of telling us that he knows who we are and how we feel, that he has brought our perceptions and interpretations into his sense of the crime. Something in the look, some sly intelligence, exceedingly brief but far-reaching, a connection all but bleached away by glare, tells us that he is outside the moment, watching with the rest of us. This is what kept Beryl in the room, this and the feeling that it was cowardly to hide.

He is commenting on the documentary footage even as it is being shot. Then he himself is shot, and shot, and shot, and the look becomes another kind of knowledge. But he has made us part of his dying.

They replayed the sequence into early morning. Beryl stayed in the room and watched. The telephone rang for the twentieth time. She didn't move. The pain entered Oswald's face. She wasn't taking any calls this particular wintry weekend.

25 November

The road curved uphill through the burial ground, past jack oaks and Chinese elms, above grassy swales tracked with grave markers, and two dusty police cars moved slowly along, unaccompanied, an incongruous stately pace. At the top of the rise they stopped outside a pretty sandstone chapel to release the mourners to their organized grief. But it seemed at once that something was wrong. The family climbed out of the cars and there were Secret Service men and cemetery staff gathered in the archway, showing the grim pride that low officials take in a despised duty. The wind began to sing in the east, sweeping out of the reaches of industrial prairie between Dallas and Fort Worth, and Marguerite Oswald stood outside the chapel in a black dress and black-rimmed glasses, holding the new baby in her arms, the granddaughter whose birth they had kept from her, and her face wore a look of helpless pain. Because somebody canceled the service. Somebody ordered the body removed from the chapel. Because the chapel was empty. The body was not there.

They called many ministers, Lutheran men of God, but no one wanted to pray over Lee Harvey Oswald. This is the reason, your honor, they were in the utmost sheepish hurry to put my boy in the earth. Robert was crying bitterly, trying to get them to return Lee's body to the chapel for a brief service, an appearance in a holy place. So then I intervened and said, "Well if Lee is a lost sheep and that is why you don't want him in church, it escapes the purpose of a church. The good people do not need to go to church. Let's say he is called a murderer. It is the murderers who need a church. Isn't this what Jesus teaches?" They were in such a hurry to bury Lee Harvey Oswald they forgot to notify the men who carry the coffin to the graveside, so news reporters teamed up to move the body. I have many stories, your honor. I have stories I am sure you do not know. I am the mother in the case.

Hurrying clouds now. The wooden coffin rested on a bier above the open grave, with a massive concrete vault below, vandal-proof, a thousand years of peace. The family sat in dented metal folding chairs under a faded canopy. Robert Oswald was between the widow and the mother, each woman holding one of the little girls. Reporters were restricted to the far fringes. No friends or well-wishers allowed, not that any were clamoring to attend. Secret Service men and uniformed police stood around the canopy, many with hands folded in front of them, dipping their knees in turn, and there were armed guards stationed along the cemetery fence. The joke among reporters was that Fort Worth was taking better care of Oswald dead than Dallas did when he was alive. Robert was trying not to break down again. He was a man of earnest bearing, dark-browed, with neatly trimmed hair, a sales coordinator, a hard worker, looking older and more responsible than any twenty-nine-year-old from here to Texarkana, as if young Lee's truancy, the defection, the undesirable discharge, the lost jobs, all of it, had planted him in a stiff shirt for life.

Your honor, I cannot state the truth of this case with simple yes and no. I have to tell a story. This is a boy the other children teased. It was torn, torn shirts and a bloody nose. Listen to me. I will write books about the life of Lee Harvey Oswald. I have information pertinent to the case. I am all over the world. I have struggled to raise my boys on mingy sums of money and today I am everywhere, newsreel and foreign press, but where are the funds for a decent burial? There are stories inside stories, judge. Lee collected stamps in a book and practiced chess alone at the kitchen table and they sent him to Russia to infiltrate. I will wear a camera and make a photographic record of Lee's life, getting houses and rooms on the record. I will tell how I worked at many jobs to raise my boys, leading up to practical nurse. I know what sickness looks like. I know low pay. I have worked for nine dollars a day, live-in, twenty-four hours' duty. I wore my nurse's uniform three days, sneaking from hotels with the secret police of different branches, with Life magazine running alongside, and a translator, and a photographer, and the Russian daughter-in-law, and the two sick babies. Marina stands and smokes a cigarette plain as day. I am in my uniform and they bring clothes for her. There are diapers hanging everywhere. TV gave the cue and Lee was shot. They kept it from us, being women, and then in the car to the next hotel something came over the radio and the agent said, "Do not repeat, do not repeat." And I said, "Is that my son?" And he didn't answer. So then I said, "My son is shot, isn't he?" And he said into the mike, "Do not repeat, do not repeat." So then I said, "Answer me, I want to know." "Do not repeat, do not repeat." So then they showed it on television in the room but Marina and I were not shown the sequence. They made us sit behind the television and the agents all crowded around in front and watched. And the back of the television was to us. And fifteen to eighteen men crowded in to watch on the other side. They gave us coffee and they watched.

I am going through a death and it is hard.

I intend to research this case and present my findings. But I cannot pin it down to a simple statement. I came home to find red welts on his legs at the age of two, where Mrs. Roach whipped him on Pauline Street, and then I placed him in a home and he slept with his brothers in a big long dormitory, one hundred little boys in rows and rows of cots. He attended six schools by the age often.

They will search out the environmental factors, that we moved from home to home. Judge, I have lived in many places but never filthy dirty, never not neat, never without the personal loving touch, the decorator item. We have moved to be a family. This is the theme of my research.

I arn smiling, judge, as the accused mother who must read the falsehoods they are writing about my boy. Lee was a happy baby. Lee had a dog. This is the boy who spent only one month in attendance at Arlington Heights High School before he entered the Marines when we were living on Collinwood Avenue and there are three pictures of this boy in the school yearbook. Now, why do you pick out this one boy who is in school so briefly, of all the boys and girls there, and make him the subject of three photographs? People say, "Mrs. Oswald, I don't get the point." You don't get the point? The point is how it goes on and on and on and on. That's the point. The point is how far back have they been using him? He used to climb the tops of roofs with binoculars, looking at the stars, and they sent him to Russia on a mission. Lee Harvey Oswald is more than meets the eye. Already there are documents stolen from rne. There are newspaper clippings stolen from my home by one of the branches of secret police. I am all over the world and they are rifling my files.

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