Don DeLillo - Libra

Здесь есть возможность читать онлайн «Don DeLillo - Libra» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Жанр: Современная проза, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

Libra: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «Libra»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

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.

Libra — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «Libra», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

"Could actually be worse," Parmenter said. "At least you're still in."

"I'd love to be out, completely, once and for all."

"And do what?"

"Start my own firm. Consult."

"On what, secret invasions?"

"That's one problem. I'm something of a tainted commodity. The other difficulty is I have precious little instinct for business ventures. I know how to teach. CIA has a picture of my prelapsarian soul in their files. They looked at it and sent me here."

"They kept you on. That's the point. They understand more deeply than you think they do."

"I'd love to be out forever. As long as I'm here, I still work for them, even though it's all a poor sick joke."

"They'll bring you back, Win."

"Do I want to be brought back? I don't like the kind of double-minded feeling I have about this thing. Despise them on the one hand; crave their love and understanding on the other."

Knowledge was a danger, ignorance a cherished asset. In many cases the DCI, the Director of Central Intelligence, was not to know important things. The less he knew, the more decisively he could function. It would impair his ability to tell the truth at an inquiry or a hearing, or in an Oval Office chat with the President, if he knew what they were doing in Leader 4. or even what they were talking about, or muttering in their sleep. The Joint Chiefs were not to know. The operational horrors were not for their ears. Details were a form of contamination. The Secretaries were to be insulated from knowing. They were happier not knowing, or knowing too late. The Deputy Secretaries were interested in drifts and tendencies. They expected to be misled. They counted on it. The Attorney General wasn't to know the queasy details. Just get results. Each level of the committee was designed to protect a higher level. There were complexities of speech. A man needed special experience and insight to work true meanings out of certain murky remarks. There were pauses and blank looks. Brilliant riddles floated up and down the echelons, to be pondered, solved, ignored. It had to be this way, Win admitted to himself. The men at his level were spawning secrets that quivered like reptile eggs. They were planning to poison Castro's cigars. They were designing cigars equipped with micro-explosives. They had a poison pen in the works. They were conspiring with organized-crime figures to send assassins to Havana, poisoners, snipers, saboteurs. They were testing a botulin toxin on monkeys. Fidel would be seized by cramps, vomiting and fits of coughing, just like the long-tailed primates, and horribly die. Have you ever seen a monkey coughing uncontrollably? Gruesome. They wanted to put fungus spores in his scuba suit. They were devising a sea shell that would explode when he went swimming.

The members of the committee would allow only generalities to carry upward. It was the President, of course, who was the final object of their protective instincts. They all knew that JFK wanted Castro cooling on a slab but they weren't allowed to let on to him that his guilty yearning was the business they'd charged themselves to carry out. The White House was to be the summit of unknowing. It was as if an unsullied leader redeemed some ancient truth which the others were forced to admire only in the abstract, owing to their mission in the convoluted world.

But there were even deeper shadows, strange and grave silences surrounding plans to invade the island. The President knew about this, of course-knew the broad contours, had a sense of the promised outcome. But the system still operated as an insulating muse. Let him see the softer tones. Shield him from responsibility. Secrets build their own networks, Win believed. The system would perpetuate itself in all its curious and obsessive webbings, its equivocations and patient riddles and levels of delusional thought, at least until the men were on the beach.

After the Bay of Pigs, nothing was the same. Win spent the spring of'61 traveling between Miami, Washington and Guatemala City to close out different segments of the operation, get drunk with station chiefs and advisers, try to explain to exile leaders what went wrong. It was the unraveling of the plot, the first weeks of a wreckage whose life span he seemed determined to prolong at the risk of his own well-being, as if he wanted to compensate for the half-measures that had brought about defeat. A new committee replaced the old, structured less cleverly, although many of the same men, to no one's shocked surprise, took chairs in the paneled room. The death of Fidel Castro was the small talk once more. But SE Detailed and Leader 4 would not take part. The groups were disbanded, their members marked not as failed plotters and operatives but as the Americans in the invasion array who had the deepest personal involvement in the exiles' cause. It was precisely the true believers who must be removed. Their contact with the exile leaders, their work in assembling and training the assault brigade, had made these men overresponsive to policy shifts, light-sensitive, unpredictable. All this was unspoken, of course. The groups simply disappeared and the members were given scattered duties unrelated to Castro's

Cuba, the moonlit fixation in the emerald sea.

Interestingly, some of the men continued to meet.

"Will he find us?"

"I have a feeling he's already here," Win said.

"My plane leaves at five-twenty-five."

"He'll find us."

They sat at the lunch counter in Shraders Pharmacy on the courthouse square. Win stirred his coffee, thought, sat, stirred. Larry kept ducking in his seat to get a better look at the Denton County courthouse, a limestone building of mixed and vigorous character, with turrets, pediments, marble columns, pointed domes, roof balustrades, Second Empire pavilions.

"I look at these ornate old buildings in bustling town squares and I find them full of a hopefulness I think I cherish. Look at the thing. It's so imposing. Imagine a man at the turn of the century coming to a small Southwestern town and seeing a building like this. What stability and civic pride. It's an optimistic architecture. It expects the future to make as much sense as the past."

Win said nothing.

"I'm talking about the American past," Larry said, "as we naively think of it, which is the one kind of innocence I endorse."

The subject ostensibly was Cuba. They'd met several times in an apartment in Coral Gables, a place Parmenter had used to brief Cuban pilots on their way to Nicaragua. They talked about maintaining contacts in the exile community, setting up a network in the Castro government. They were five men who could not let go of Cuba. But they were also an outlawed group. This gave their meetings a self-referring character. Things turned inward. There was only one secret that mattered now and that was the group itself.

"Only be a minute," Win said.

They walked under a canopy and went into the long dark interior of the hardware store, a place of lost and reproachful beauty, with displays of frontier tools and ancient weighing machines, where Win often came to walk the two aisles like a tourist in waist-high ruins, expanded and sad. He had to remind himself it was only hardware. He bought a paint scraper and when they got back to

Larry's rented car, parked off the square, they saw a figure in the front seat, passenger side, a broad-shouldered man in a loud sport shirt. This was T. J. Mackey, a cowboy type to Win's mind but probably the most adept of the men in Leader 4, a veteran field officer who'd trained exiles in assault weapons and supervised early phases of the landings.

Parmenter got behind the wheel, humming something that amused him. Win sat in the middle of the rear seat, giving directions. With Mackey here, the day took on purpose. T-Jay did not bring news of hirings and firings, the births of babies. He was one of the men the Cubans would follow without question. He was also the only man who'd refused to sign a letter of reprimand when the secret meetings in Coral Gables were monitored by the Office of Security. If a monumental canvas existed of the five grouped conspirators, a painting that showed them with knit brows and twisted torsos, darkly scheming men being confronted by crewcut security agents in khaki suits with natural shoulders, it might be titled "Light Entering the Cave of the Ungodly." Parmenter and two others signed letters of reprimand that were placed in their personnel files. Win signed a letter and also agreed to a technical interview, or polygraph exam. He signed a quit claim, stating that he was taking the test voluntarily. He signed a secrecy agreement, stating that he would talk to no one about the test. When he failed the polygraph, security men sealed his office, a small room with a blue door on the fourth floor of the Agency's new headquarters at Langley. In the office they found telephone notes and documents that seemed to indicate, amid the usual ambiguities, that Win Everett was putting people of his own into Zenith Technical Enterprises, the burgeoning Miami firm that provided cover for the CIA's new wave of operations against Cuba. It was a little too much. First he heads a group that ignores orders to disband. Then he runs a private operation inside the Agency's own vast and layered industry of anti-Castro activities. When Win took a second polygraph he sat at the desk apparatus sobbing, after three questions, the electrodes planted in his palm, the cuff around his bicep, the rubber tube traversing his chest. It was such an effort not to lie.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «Libra»

Представляем Вашему вниманию похожие книги на «Libra» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Percival Everett - Assumption
Percival Everett
Percival Everett
Peter Savodnik - The Interloper
Peter Savodnik
Peter Savodnik
Priscilla McMillan - Marina and Lee
Priscilla McMillan
Priscilla McMillan
Bill O'Reilly - Killing Kennedy
Bill O'Reilly
Bill O'Reilly
Roald Dahl - My Uncle Oswald
Roald Dahl
Roald Dahl
Отзывы о книге «Libra»

Обсуждение, отзывы о книге «Libra» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.

x