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 zoo was three blocks away. There were traces of ice along the fringes of the wildfowl pond. He walked down to the lion house, hands deep in his jacket pockets. No one there. The smell hit him full-on, a warmth and a force, the great carnivore reek of raw beef and animal fur and smoky piss.

When he heard the heavy doors open, the loud voices, he knew what to expect. Two kids from P.S. 44. A chunky kid named Scalzo in a pea coat and clacking shoes with a smaller, runny-nose comedian Lee knew only by his street name, which was Nicky Black. Here to pester the animals, create the routine disturbances that made up their days. He could almost feel their small joy as they spotted him, a little jump of muscle in the throat.

Scalzo's voice banged through the high chamber.

"They call your name every day in class. But what kind of name is Lee? That's a girl's name or what?"

"His name is Tex," Nicky Black said.

"He's a cowpoke," Scalzo said.

"You know what cowpokes do, don't you? Tell him, Tex."

"They poke the cows," Scalzo said.

Lee went out the north door, a faint smile on his face. He walked down the steps and around to the ornate cages of the birds of prey. He didn't mind fighting. He was willing to fight. He'd fought with the kid who threw rocks at his dog, fought and won, beat him good, whipped him, bloodied his nose. That was on Vermont Street, in Covington, when he had a dog. But this baiting was a torment. They would get on him, lose interest, circle back fitfully, picking away, scab-picking, digging down.

Scalzo drifted toward a group of older boys and girls huddled smoking around a bench. Lee heard someone say, "A two-tone

Rocket Olds with wire wheels."

The king vulture sat on its perch, naked head and neck. There is a vulture that breaks ostrich eggs by hurling stones with its beak. Nicky Black was standing next to him. The name was always used in full, never just Nicky or Black.

"Playing the hook is one thing. I say all right. But you don't show your face in a month."

It sounded like a compliment.

"You shoot pool, Tex? What do you do, you're home all day. Pocket pool, right? Think fast."

He faked a punch to Lee's groin, drew back.

"But how come you live in the North? My brother was stationed in Fort Benning, Georgia. He says they have to put a pebble in their hand down south so they know left face from right face. This is true or what?"

He mock-sparred, wagging his head, breathing rapidly through his nose.

"My brother's in the Coast Guard," Lee told him. "That's why we're here. He's stationed in Ellis Island. Port security it's called."

"My brother's in Korea now."

"My other brother's in the Marines. They might send him to Korea. That's what I'm worried about."

"It's not the Koreans you have to worry about," Nicky Black said. "It's the fucking Chinese."

There was reverence in his voice, a small note of woe. He wore torn Keds and a field jacket about as skimpy as Lee's wind-breaker. He was runty and snuffling and the left half of his face had a permanent grimace.

"I know where to get some sweet mickeys off the truck. We go roast them in the lot near Belmont. They have sweet mickeys in the South down there? I know where to get these books where you spin the pages fast, you see people screwing. The kid knows these th'ings. The kid quits school the minute he's sixteen. I mean look out."

He blew a grain of tobacco from the tip of his tongue.

"The kid gets a job in construction. First thing, he buys ten shirts with Mr. B collars. He saves his money, before you know it he owns a car. He simonizes the car once a month. The car gets him laid. Who's better than the kid?"

Scalzo was the type that sauntered over, shoulders swinging. The taps on his shoes scraped lightly on the rough asphalt.

"But how come you never talk to me, Tex?"

"Let's hear you drawl," Nicky Black said.

"I say all right."

"Talk to Richie. He's talking nice."

"But let's hear you drawl. No shit. I been looking forward."

Lee smiled, started walking past the group hunched over the park bench, lighting cigarettes in the wind, the fifteen-year-old girls with bright lipstick, the guys in pegged pants with saddle stitching and pistol pockets. He walked up to the main court and took the path that led to the gate nearest his street.

Scalzo and Nicky Black were ten yards behind.

"Hey fruit."

"He sucks Clorets."

"Bad-breath kissing sweet in seconds."

"One and a two."

"I say all right."

"One two cha cha cha."

"He don't know dick."

"I mean look out."

"But how come he won't talk to me?"

"But what do we have to do?"

"Smoke a Fag-a-teeeer."

"Ex-treeeem-ly mild."

"I say all right."

"But talk to us."

"We're talking bad or what?"

"But say something."

"Think fast, Tex."

"I say all right,"

At the gate a man in a lumber jacket and necktie asked him his name. Lee said he didn't talk to Yankees. The man pointed to a spot on the pavement, meaning that's where you stand until we get this straight. Then he walked over to the other two boys, talked to them for a moment, gesturing toward Lee. Nicky Black said nothing. Scalzo shrugged. The man identified himself as a truant officer. Scalzo tugged at his crotch, looking the man right in the eye. Like so what, mister. Nicky Black did a little cold-day dance, hands in pockets, giving a buck-tooth grin.

Out on the street the man escorted Lee to a green-and-white squad car. Lee was impressed. There was a cop behind the wheel. He drove with one hand, keeping the hand that cupped a cigarette down between his knees.

Marguerite stayed up late watching the test pattern.

Lee purely loves animals so the zoo was a blessing but they sent him downtown to a building where the nut doctors pick at him twenty-four hours a day. Youth House. Puerto Ricans by the galore. He has to take showers in that jabber. John Edward tried to get him to talk to the nut doctor but Lee won't talk to John Edward ever since he opened the pocketknife on John Edward's bride. They have got him in an intake dormitory. They talk to him about is he a nail-biter. Does he have religious affiliation and whatnot? Is he disruptive in class? He doesn't know the slang, your honor. The place is full of New York-type boys. They see my son in Levis, with an accent. Well many boys wear Levis. What is strange about Levis? But they get on him about does he think he's Billy the Kid. This is a boy who played Monopoly with his brothers and had a normal report card when we lived with Mr. Ekdahl, on Eighth Avenue, in Fort Worth. It is a question of adjusting, judge. It was only a whittling knife and he did not actually cut her and now they don't talk, brothers. This is a boy who studies the lives of animals, the eating and sleeping habits of animals, animals in their burrows and caves.

What is it called, lairs? He is advanced, your honor. I have said

from early childhood he liked histories and maps. He knows uncanny things without the normal schooling. This boy slept in my bed out of lack of space until he was nearly eleven and we have lived the two of us in the meanest of small rooms when his brothers were in the orphans' home or the military academy or the Marines and the Coast Guard. Most boys think their daddy hung the moon. But the poor man just crashed to the lawn and that was the end of the only happy part of my adult life. It is Marguerite and Lee ever since. We are a mother and son. It has never been a question of neglect. They say he is truanting is the way they state it. They state to me he stays home all day to watch TV. They are talking about a court clinic. They are talking about the Protestant Big Brothers for working with. He already has big brothers. What does he need more brothers for? There is the Salvation Army that is mentioned. They take the wrappers off the candy bars I bring my son. They turn my pocketbook all out. This treatment is downgrading. It is not my fault if he dresses below the level. What is the fuss about? A boy playing hooky in Texas is not a criminal who is put away for study. They have made my boy a matter on the calendar. They expect me to ask their permission to go back home. We are not the common drifters they paint us out to be. How on God's earth, and I am a Christian, does a neglectful mother make such a decent home, which I am willing to show as evidence, with bright touches and not a thing out of place. I am not afraid to make food last. This is no disgrace, to cook up beans and cornbread and make it last. The tightfisted one was Mr. Ekdahl, on Granbury Road, in Benbrook, when the adulteries started. But I am the one accused of excesses and rages. I took back my name, your honor. Marguerite Claverie Oswald. We moved to Willing Street then, by the railroad tracks.

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