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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A silence. Win listened to the dense rush of air in the earpiece, a city alive, horns blowing, cars streaming across the Potomac bridges.

"Could be a nice find, Larry."

"Don't make it sound like a three-room apartment. We could put him together. A far-left type. Work him in. Tie him to Cuban intelligence. Possibly even place him at the scene. If he thinks he's operating on the left, pro-Castro, pro-Soviet, whatever his special interest, we'll help him select a fantasy. There's never a dearth of reasons to shoot at the President."

"Tell Mackey. Give T-Jay the details. T-jay will bring him in."

He always seemed to be going to bed. It was always bedtime. The day came and went and it was time to go to bed again.

He went around turning off lights, checking the front and back doors. He'd seen a U-2 once on a salt flat in Nevada. It looked like a child's idea of advanced reconnaissance. Freakish wingspan, basic body that looked unfinished, wingtips that folded over. But it had a jet engine under a glider frame and could climb at an angle steeper than forty-five degrees, soar to eighty-five thousand feet, its camera sweeping a path over a hundred miles wide. Dark lady of espionage, the Soviets called it. He checked to see that the oven was off. The last thing downstairs was the oven.

Mary Frances was in bed, waiting. A soft light glowed by the armchair. He felt the air on his body as he undressed. The night was full of new things, earth musk and wet bark and night jasmine, a scented freshness, a turning of the earth after rain. He pressed down slowly. The wind-burnt face and whitish brows. The perfumed tincture of her breasts. He would love her into death, into the secret sleep. Her head rolled on the pillow, eyes shut tight. He hid his face in the curve of her neck. The night was full of water moving, faint wet sounds, rainwater dripping through trees, water falling from eaves, running in downspouts, wet sounds of tires on asphalt, tires on a wet street. He raised up slightly, locked his hands in hers, fingers extended. Each pushed hard against the other. A charged fragrance. Hollow thunder in the distance. Water silent in grassy pools, running down leaf stems, collecting in the webbed centers of leaves, droplets, trembling drams, water on the leaves of the blackjack oak set near the house, a light spatter on the screen when the wind shifts. She was blond and white and pink, rough-textured, broader than he was and stronger-minded now, the stronger by far, and all she wanted for him was something safe and plain. He smelled light sweat, felt spittle reaching to his chin. Their hands pushed against each other, fingers tensed and shaking. He felt a rustling response in the sheets, her ass wagging, moisture in the white down at the sides of her mouth. He said her name and watched her eyes come open to that deep wondering of hers, that trust she placed in the ordinary mysteries. She was in the world as he could never be. She meant the world. He freed a hand and wiped away the spit. She said his name quickly, many times, like some cheerleader's sideline riff, and that was that was that.

Side by side, listening to the radio.

"I wonder," she said. "What do other people say to each other?"

"When?"

"Now. I want to know what people say. Maybe there are things we haven't thought of." Laughing at herself. "Things we ought to be saying."

"While having sex or afterward?"

"While having sex is not interesting. Moany-groany love talk. No, afterward, now."

"Do you think we've been saying the wrong things all these years?"

"Wouldn't you like to overhear? I don't want to watch other people. I want to listen."

"They talk about wanting a cigarette."

"Who was that on the phone?"

" 'Where are my cigarettes?' That's what they say."

"He wouldn't tell me his name."

"Larry Parmenter. You remember him. Somebody's house in Miami."

"Kind of just barely."

"Maybe three years ago."

"What did he want to talk about?"

"Curious lady."

"Some nights I need to be held. Tonight I'm a listener. So nice to lie in rumpled sheets and listen. Cover me with words. We're two gossipy bodies alone in the night. Tell me what you talked about."

"Very sexy stuff."

"Oh sure really."

"U-2 planes. The planes that spotted the missiles the Soviets were putting into Cuba. We used to call the photos pornography. The photo interpreters would gather to interpret. 'Let's see what kind of pornography we pulled in today.' Kennedy looked at the pictures in his bedroom as a matter of fact."

"Talk," she said.

"Spy planes, drone aircraft, satellites with cameras that can see from three hundred miles what you can see from a hundred feet. They see and they hear. Like ancient monks, you know, who recorded knowledge, wrote it painstakingly down. These systems collect and process. All the secret knowledge of the world."

"Isn't it one of the best things there is, feeling the air on your body on a night like this?"

"I'll tell you what it means, these orbiting sensors that can hear us in our beds. It means the end of loyalty. The more complex the systems, the less conviction in people. Conviction will be drained out of us. Devices will drain us, make us vague and pliant."

Years together, years of transience, cover operations, plausible denials, dead silences had given Mary Frances no reason to believe she would ever know exactly what kind of secrets Win was keeping at a given time, which meant there was something welcome in these moments of wordiness, in the shape and range of his meanders. She encouraged him to tell her whatever he could about subjects and developments close to his work, or simply things on his mind- encouraged him tacitly, creating receptive fields around him, still-nesses. A wifely labor as natural to her as choosing curtains. By now she was adept at discharging an air of shy curiosity and although there was no longer any real work for him to do, she still wanted to know, wanted badly to hear. But tonight it happened that she fell asleep, drifting lightly off, twisted in a bedsheet, one arm swept across his chest. He listened to the radio, a man preaching the gospel in a bright clear voice, a thrilling voice, youthful, assured. Yes yes yes yes. God is alive and well in Texas.

He would put someone together, build an identity, a skein of persuasion and habit, ever so subtle. He wanted a man with believable quirks. He would create a shadowed room, the gunman's room, which investigators would eventually find, exposing each fact to relentless scrutiny, following each friend, relative, casual acquaintance into his own roomful of shadows. We lead more interesting lives than we think. We are characters in plots, without the compression and numinous sheen. Our lives, examined carefully in all their affinities and links, abound with suggestive meaning, with themes and involute turnings we have not allowed ourselves to see completely. He would show the secret symmetries in a nondescript life.

An address book with ambiguous leads. Photographs expertly altered (or crudely altered). Letters, travel documents, counterfeit signatures, a history of false names. It would all require a massive decipherment, a conversion to plain text. He envisioned teams of linguists, photo analysts, fingerprint experts, handwriting experts, experts in hairs and fibers, smudges and blurs. Investigators building up chronologies. He would give them the makings of deep chronos, lead them to basement rooms in windy industrial slums, to lost towns in the Tropics.

He turned off the radio and slipped out from under her arm. He wanted a cigarette. He put on his pajamas and found two bent Winstons in his shirt pocket, on the armchair. He sat smoking, trying to read. The storm moved west in blue-white rattling streaks. T-Jay will bring him in. Win knew that the name Mackey was a pseudonym assigned by the Records Branch. Theodore}. mackey. Win had also used a false name through the years, standard practice for officers engaged in covert work. Mackey's name became enveloped in a certain favorable light, a legendary light, when exile leaders found out he had gone ashore with the scouts at Blue Beach. Once it was clear the invasion would fail, Mackey returned in a whaleboat and cruised the inlets with a megaphone, calling for and finding survivors. Win didn't know his real name.

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