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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Chocolate was expensive. These people had a vicious sweet tooth. Always a crowd at the local confectionery. Life was small things. Chocolate, a record player, a meal at the automat.

His friends had trouble with his name. They didn't feel comfortable saying Lee. It sounded Chinese or just didn't fit right on the tongue.

He told them to call him Alek.

Postcard #4. Washington, D.C. It is January 21, 1961, the day after the inauguration of John F. Kennedy, and Marguerite Oswald is in Union Station looking for a telephone. She has just traveled three days and two nights on a train from Fort Worth, borrowing on an insurance policy to pay for the ticket, wiping out her bank account to buy a pair of shoes, traveling all this way sitting up -not enough cash for a roomette in the sleeping car. This is an angry, tired and frustrated woman. Letters to her congressman unanswered. Phone calls to the local office of the FBI unreturned. Telegrams to the State Department. Letters and calls to the International Rescue Committee. The State Department talks to the International Rescue Committee but nobody wants to talk to her. Is it really so strange that she uses the word conspiracy? She is only trying to analyze a whole condensed program of things that are not correct.

The White House switchboard tells her the President is in conference.

She throws another coin down the slot.

The State Department switchboard says Secretary Rusk is not available right now but anything they could do for her, etc. etc. The operator is a Negro woman and Marguerite used to live in a mixed neighborhood of Negroes and whites on Philip Street in New Orleans when she was growing up, and played with Negroes, and lived next door to a lovely Negro family, so she finally gets connected, after a lot of back and forth, to a man who seems to be talking from an office instead of a switchboard. There is a silence around him and he says he is an aide and asks her politely what the trouble is.

"I have come to town about a son of mine who is lost in Russia."

She tells the man she is not the sobbing-mother type but the fact is she is getting over a sickness and she doesn't know whether her son is living or dead. He is somewhere abroad working as an agent of our American government. He has the right to make his own decisions, she says, but there is a good chance he has become stranded by his government and cannot get out.

The man says the Weather has predicted a terrible snowstorm and they have orders to leave early.

Marguerite is wary of conspiracy.

She says into the phone, "I cannot survive in this world unless I know I have my American way of life and can start from the very beginning. I have to work into this, starting from the time he was determined at age sixteen about joining the Marines, which we bickered back and forth, living in the French part of town."

She says, "He read Robert's manual day and night. He knew Robert's manual by heart. And now he is unheard from in over a year, which I am convinced is not completely of his doing, however agents operate overseas. I am here to demand the substance of where he is."

The man at the State Department says they are all leaving the office due to this predicted storm. It is apparently bearing down. The Weather says it could hit any time.

Marina loved hearing English spoken. It was exciting, an adventure of a sort. She hadn't even known there was an American in Minsk. This was something fairly remarkable. The thing that people felt about America never went away.

She danced with Alek on the vast floor of the Palace of Culture. He was polite and neatly dressed, told her how pretty she was in her brocade dress and upswept hair. He spoke English to some of the other boys but only Russian to her, of course. She'd rarely heard English, didn't know a word except song lyrics, Tarzan, Spam.

Marina herself had arrived in Minsk like snow off the roof, her uncle Ilya said. She was illegitimate, she was an orphan, she was drawn to people who were different. Ilya told the American she had breezes in her brain.

She saw Alek often. They seemed to shine together at the center of things. They made things theirs. A certain bench in the park, near the chess players, ordinary things, not unusual in any way. They fell in love the way anyone does. They were from different worlds, totally different cultures, but they were brought together by fate, Marina believed. Her heart began to beat in a different way.

They flattered each other, made each other seem unique and marvelous. It is the lie everyone accepts about being nineteen, which was Marina's age when she met this unexpected man.

She threw over Anatoly, who looked like an actor in the movies, and she threw over Sasha, who was wonderful in every way and therefore not for her.

Alek had a small lovely flat and listened to Tchaikovsky on the phonograph. He took Marina boating on Youth Lake. They were the same as anyone, completely ordinary, saying what people say. Every fact about their lives was precious. Marina's weight at birth was a little over two pounds. Alek was in awe of this fact. It was a private charm, something about her to hold dear. He gestured with his hands, trying to find a shape for two pounds of precious life. Her eyes were blue. Her childhood name was Spichka, or Match-stick, for her spare frame and her tendency to flare up, to speak in abrupt excited phrases. These things they told each other were like stories in a book that changes every day, giving their love a quality of never ending.

He told her his mother was dead.

They talked about everything, the sun and the moon, a fly on a pane of glass. He hid in doorways when the cold wind blew. There was a killer wind that blew along the river.

They were marked by fate to be married and they went to the registry office, with spring coming on, only six weeks after they'd met. Alek brought her a cluster of early narcissus and she wore a short white gown with a grass-blade pattern. That night he thanked her sweetly for being a virgin.

She came home from work in the hospital pharmacy to find him doing the laundry or mopping the floor. He would not let her wash his work clothes. He was ashamed of the grime and sweat and did not like thinking of himself as a factory hand, a manual laborer, slotted to do a certain eternal task.

He tuned in the Voice of America every night at ten.

They had matching scars on their arms, his left arm, her right, both scars near the elbow, the same size and shape. A sense of destiny, or mirrored fate. He told her he'd been wounded in action, in Indonesia, in an operation against the communists. He would say nothing to her about the other scar, the one on his wrist.

He was an orphan like her, an outsider, which was all to the good, but beyond that she was not sure who Alek really was. She saw him from a slight distance, it seemed. He was never fully there, He was the other person, the one she lived with, the American who told her he was twenty-four years old but who turned out, on their wedding day, when she saw the marriage stamp in his residence permit, to be only twenty-one.

It was some weeks later that she learned his mother was not dead.

Some of the boys from the plant told Marina that he was a good enough fellow but always kept to himself, always the loner, not really part of things, not at all like a Russian in temperament and feeling-not straight from the heart, in other words.

The day they were married Castro won the Lenin Peace Prize. This was two weeks after the Bay of Pigs.

He wrote in Spanish in his notebook the numbers one to seventeen, leaving out five and six.

"The other girls I knew here, why did they want to go out with me, just like you?"

"I don't know," she said.

"Because I'm American. That's the funny thing. I left my country out of protest against the conditions there and now I'm the all-American boy to everyone. Except I'll tell you this. When I wanted to marry that girl from the factory, Ella, she turned me down flat for the same reason she went out with me in the first place. I'm an American. Sooner or later I'd be arrested as a spy, she said. Her family thinks I'm a spy. She probably thinks I'm a spy. It's the state of fear of ordinary life in Russia. I saw her the other day. Fat as a barrel now."

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