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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The second air strike, finally, was canceled.

He knew Everett believed the failure was more complex than one scrubbed mission. A general misery of ideas and means. But Mackey insisted on a clear and simple reading. You can't surrender your rage and shame to these endless complications.

He had a wife somewhere. This was a complication to think back on. Two years of study, postwar, mining and metallurgy, with a wife to encourage him. He could barely picture her face. Paled and ballooned by drink. She was a paramilitary wife by then. She liked the movies. She liked to sit with her ass dipped down into the opening between the seat and the backrest, her feet up on the raised edge of the seat front, balanced like a serious toy, as the bullets flew. She had pretty hair, he seemed to recall, and drank in a methodical way, as if to forestall any complaint that she was out of control.

The scouting party came ashore before midnight. Mackey was the only American in the rubber raft and he wasn't supposed to be there. The raft skidded up the beach and one man vaulted into the water and ran alongside, scooping dense sand with both hands and muttering a prayer. They began marking the beach with landing lights for the troops waiting beyond the breakers in ancient pitching LCIs and born-again freighters. The place wasn't exactly deserted. Some people sat outside a bodega above the beach, old men talking. One of the scouts, wearing black trunks and a black sweatshirt, face smeared with galley soot, walked over to chat with them, carrying an automatic rifle. T-}ay wasn't armed. He couldn't be sure whether this was his way of letting the men know his role here was limited or whether he was feeling indestructible tonight. The sea tang was bracing. He saw an old Chevy near the bodega and got his chief scout Raymo to request the keys from one of the patrons as a gesture of welcome from those about to be liberated. He wanted to find out if the local militia camp was where the intelligence briefers said it was. The car was a '49 model with a picture pasted to the dashboard of a Cuban ballplayer in a Brooklyn Dodgers cap and shirt. They were an eighth of a mile down the stony road when a jeep appeared in the high beams, two heads bobbing in silhouette. T-Jay eased the car diagonally across the road. Raymo was out the door, saying something into the bursts from his submachine gun. Every other round was a tracer. Heat and light. When the magazine was empty, two dead militiamen sat in the vehicle, mouths open, the upholstery smoking. Raymo stood looking, his squat body immensely still. He was barefoot, in ridiculous checkered shorts, like a vacationing Min-nesotan, a cartridge belt slung below his belly. They heard pistol fire from the beach and drove to the bodega in reverse. Someone said a scout had shot one of the old men over a careless remark. Near the body a cluster of people stood arguing. T-Jay walked down to the beach. Frogmen were in, helping rig the marker lights. He had his radioman tell the lead ship to send the brigade commanders ashore, send the troops ashore, get the goddamn thing going. Back near the road he saw a woman standing outside a straw hut, swatting the air around her. They were very near Zapata swamp, famous for mosquitoes.

He read the sign across the street. Discount on Lab Coats. There were voices around the corner, the particular ragged laughter of people leaving a bar. At daybreak the rooster would crow, the dogs would bark, like some tin-shack village in the Caribbean.

The memory was a series of still images, a film broken down to components. He couldn't quite make it continuous. He saw Raymo heaving open the car door, a stutter motion, each segment leaving a blur behind. The bursts from the surplus Thompson were the first shots fired at the Bay of Pigs. This made Raymo a figure of respect among his fellow prisoners during the twenty months they would spend in the fortress of La Cabana listening to rifle reports from the moat, where the executions took place, each crisp volley followed by a precise echo, an afterclap, as the prisoners thought about the dog that lived in the moat, lapping up blood.

Finally the taxi stopped outside.

He went into the bathroom and ran cold water over his hands, trying to ease the sting where the lotion had failed. He'd contracted malaria during his Indonesian stint and felt the effects now and then, a sense that his body was a swamp. He went to the door and waited.

His wife cut him once, swinging a knife across the kitchen table and catching the left side of his jaw, after a night of who knows what. He never thought of her by name. He thought of her being somewhere very vague, in a room with curtains, never moving from the chair. This is what happens to loved ones who go away. We make them sit in a room forever.

The woman came in, wearing a hard tan, her skin smoked and cracked. She said she was Rhonda. She had heavy dark makeup that made him think of nights at the shore and gonorrhea.

"Casal said be nice to you."

"What do you think he meant by that?"

She smiled and unzipped her skirt. Casal was the bartender at the Habana, a waterfront dive that catered to merchant seamen, Cubans with a grudge and other floating bodies on the tide.

All night it sounded across the water. "Listen, my brothers, to the roar of the white typhoon." It was the grimmest, most godawfu! thing, to be ashamed of your country.

Win Everett was in pajamas looking at a two-day-old copy of the Daily Lass-O, the student newspaper at TWU. There were contests for yell leaders and twirlers. A nationwide search was under way for a typical coed. He sat in an armchair in a corner of the bedroom. He learned from the paper that the school's original name was the Texas Industrial Institute and College for the Education of White Girls of the State of Texas in the Arts and Sciences. He skipped the piece on JFK.

The phone rang downstairs. He heard Mary Frances walk into the kitchen and pick up the receiver. She came to the foot of the stairs and he dropped the newspaper, waiting to hear her call his name.

She watched him come down the stairs, looking nearly weightless in his pajamas, that softness of step he'd developed only lately, as if to show someone watching that he'd taken the path of self-effacement. They touched lightly as he moved past and she knew it meant they would make love on the fresh sheets with the window open and the smell of rain and dripping leaves still in the air.

Parmenter calling from a public booth. Win could hear traffic noises, excited air. He watched Mary Frances start upstairs, her hand leaving the carved newel and slipping along the handrail, barely touching.

"How do we proceed?"

"The phone is secure. They're not interested in me anymore. Besides, I've cleaned it."

A brief laugh. "You know how to do that?"

"I tinker in the basement," Win said.

"Do you know a man named George de Mohrenschildt?"

"No."

"Does odd jobs for Domestic Contacts. I find out he's also hooked to Army Intelligence. Cuba via Haiti. He's on the way to Haiti. It probably involves an arms deal. George comes across pro-Castro. I believe this is a genuine attachment. He thinks we've behaved rather badly. But the fact is, if my information is correct, he's working against Castro interests, or will be as soon as he gets to Haiti. In any case George doesn't concern us directly. He has a young friend, a kid he debriefed on behalf of the Agency. A defector who repented, more or less, after two years plus in the USSR. I got George to tell me his name and I've done some checking. There's a 201 file on the kid dating to December 1960."

"Did SR Division insert him?"

"The way we fake our own files, who knows for sure? There's no clear sign we put him into Russia. That's all I can tell you except for this. He spent some of his service time at a closed base in Japan. Atsugi. He was a radarman. Had access to data concerning U-2 flights. A nice house-present to give the Soviets when he went over. He married a Russian girl. Decided he wanted to come home. The young marrieds settled in Dallas, met George, spent evenings with the local Emigre's, reminiscing. One night about two and a half weeks ago, according to George, our young man fired a shot into the night, aimed at the infamous head of Major General Edwin A. Walker, U.S. Army, resigned."

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