Don DeLillo - Libra

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Libra: краткое содержание, описание и аннотация

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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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A minister showed up, willing to say a few words at the grave. He was an executive of the Council of Churches and hadn't conducted a service in eight years. But he wanted to help, although he'd left his Bible in the car. The undertaker opened the coffin and Marina Oswald approached and kissed her husband and placed two rings on his fingers. She wore a dark dress and pale cloth coat and she was sobbing now, and the babies were crying, and the security men dipped their knees and gazed vaguely skyward. Marina found herself thinking, how odd, that when Khrushchev visited Minsk while she was living there with Lee, there were strong rumors of an assassination attempt. If that had been Lee, if Lee had been picked up for that, they would have taken better care of him. At least say this for Russians; they can guard a suspect. These grudging minutes at the grave completed her abandonment, except for dreams. Her dreams would be incomplete for years, deprived of Alek in his early sweetness, the way he loved to play with June Lee, could sit and look at her for hours. The minister said, "O God of the open sky and of the infinite universe." She was alone with two small children under these blowing clouds, an outcast, bent in grief and loss, living in a motel with a dozen armed men. She tried to understand how this could happen.

Now, about Marina as Russian or French. It is amazing how her English improved right after Lee is killed. It is amazing how she suddenly has a cigarette in her hand, which I never witnessed when Lee was alive. I will research the picture of Marina to learn if it is true. I have a sixth sense, judge. People have remarked on my ESP. If Lee Harvey Oswald shot the President, why didn't I know it at the time? It is a prevalent feeling every mother has when the phone rings and she knows it is her son. Why didn't I sense he was in a window with a gun when the shots rang out? Even being his gun doesn't mean he did the shooting. I will wear a camera. I will time his movements on the fatal day. I am ready to go round and round on this because there are stories inside stories, that the press is unaware. Marina knows English, Marina knows French. This foreign girl is trained. They brought clothes for Marina. They showed me a story in the paper where a woman has offered her a home. They want Marina to admit to his guilt and they will find her a home. Robert sides constantly with the secret police. Our dispositions do not jell. This is the heartbreak of blood relations. I am forgetting many things, your honor. Lee had a bicycle. Lee had a dog. This boy was shot handcuffed to an officer of the law. Somebody paid to have him shot on cue. TV gave directions and down he went. We have a moral issue all through this that I am fighting for. My mail is opened. There are three letters missing from my desk. Lee wrote to me from Russia, "I am lonesome to read." In this letter he is thanking me for sending books. He is saying please. He asks for news of his homeland. This is a letter that is missing. Our government has been watching him for years.

Did Lee even know he was being used? This is a question I will research. Listen to me. I have to tell a story. I have to work into this, living in the French part of town. He knew Robert's manual by heart. He liked histories and maps. The recruiting officer said, "Mrs. Oswald, there is less delinquency in Japan and those places than we have here." He sold a bill. He was willing to sneak Lee in at age sixteen, before the legal limit. They were preparing him. They were using him already. Three photos in the yearbook and he was only there a month. People say, "Mrs. Oswald, what is the point?" The point is how far back did it go? When did they start watching him? Did he belong to them for life? The point is what about the boy in the casket? Lee in a suit and nice tie looking completely different from the scarecrow son in the newspapers and TV, a sturdy boy, broad-faced, like a Russian. Is the person they buried the same as the person they killed? Did they really kill him? Is the person who came back from Russia the same as the person who went? I have a right to ask these questions. How tall is Lee? What are his scars? I will bring these questions out in books and appearances.

I wrote to Mr. Khrushchev July 19, 1960, when my boy was lost in Russia. I received no reply. I went to Washington January 21, 1961, to petition President Kennedy to find my boy and bring him home. So-wait now, this is good-they write I am neglectful. I left my boys to shift for themselves. I drove all the way to New York in that old junky Dodge. I pulled up stakes in our Western slang too many times. When the truth is that the mother is neglected. If you research the life of Jesus, you see that Mary mother of Jesus disappears from the record once he is crucified and risen. Where is the mother who raised the boy? When the boy is dead, do they build a box around the mother? I played piano by ear. I was a popular child. I can't give facts point-blank. It takes stories to fill out a life. Only think of Mr. Ekdahl, who cheated me out of a decent divorce and abandoned me to a life of scaring up dimes. Mr. Ekdahl is a story. Marina is a story where the details are lax. I strictly believe in my suspicions. Her statements, her way of life, she smokes, she does not nurse her baby. Marina has a manager. She has offers coming in and where is the mother? I am pictured in Life magazine in my uniform with hose rolled down. I have suffered like my son. We have the same construction.

It was near dusk now, stormlight forming at the edges of low-sailing clouds, dark and mobbed, and there was urgency, a wildness in the sky, everything electric. The minister finished reciting a psalm and the funeral director prepared to lower the coffin. Policemen adjusted their gun belts shyly. The family stood and watched. Robert and Marina had similar looks, soft, lost, pleading. Make it different, make it not happen, give him another chance, another life. Marguerite, holding little Rachel across her folded arms, showed a desolation so total it could be taken as the only thing left, all she had and was, all she'd given returned to her in a suit in a box, all fall arid smash, a soul struck by ruin. She passed the baby to the minister and put her hands to her face, not touching but enclosing only, keeping the moment safe from every woe outside her own.

They lowered her youngest son to the red clay of Texas, burying him for security reasons under another name, the last alias of Lee Harvey Oswald. It was William Bobo.

Now Marina came forward and picked up a handful of dirt. She made the sign of the cross, then extended her arm over the grave, letting the dirt fall. Marguerite and Robert had never seen anything like this. The beauty of the gesture was compelling. It was strange and eloquent and somehow correct. They'd agreed on nothing since Robert was a boy but now they leaned together to the mound of earth and took some dirt and blessed themselves, then held their fists upright over the grave and let the dirt spill out, running through their hands like sand hurrying in an hourglass, lightly falling on the pinewood box.

I stand here on this brokenhearted earth and I look at the stones of the dead, a rolling field of dead, and the chapel on the hill, and the cedar trees leaning in the wind, and I know a funeral is supposed to console the family with the quality of the ceremony and the setting. But I am not consoled.

And this is from oldentimes, that the men will kill each other and the women will be left to stand at the grave. But I am not content to stand, your honor.

I will time his movements on the fatal day. I will interview every witness. I am not speaking just to be speaking. I know as the accused mother I must have facts. Listen to me. Do you know I took Russian classes at the library? I went and studied once a week on my one day off, hoping in my heart that Lee would contact me someday, that I could talk to Marina in a normal way. Listen to me. Listen. I cannot live on donation dribs and drabs. Marina has a contract and a ghostwriter. She refused to wear the shorts I bought. And this boy on a Sunday in Fort Worth was not packed to go anywhere and the next day was gone with his wife and baby to a job in Dallas, overnight, without notice to his former employer or his mother. A job in photography where the details are not known. You have to wonder. Who arranged the life of Lee Harvey Oswald? It goes on and on and on. Lee had a stamp collection. Lee swam at the Y. I used to see him on Ewing Street with his hair all wet. Hurry home dear heart or you will catch your death. I am not letter-perfect but I have managed, judge. I have worked in many homes for fine families. I have seen a gentleman strike a wife in front of me. There is killing in fine homes on occasion. This boy and his Russian wife did not have a telephone or television in America. So that is another myth cut down. Listen to me. I cannot enumerate cold. I have to tell a story. He came home with a birdcage that had a stand with a planter. It had ivy in the planter, it had the cage, it had the parakeet, it had a complete set of food for the parakeet. This boy bought gifts for his mother. He was lonesome to read.

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