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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They ran to the birdcage elevators, four young men in the lunch-hour race, horse laughs, jostling at the gates. Lee heard them call to each other all the way down. Dust. Faded white paint on the old brick walls. Stacks of cartons everywhere. Old sprinkler pipes and scarred columns. A layer of dust hovered at a height of three feet. Loose books on the floor. His clipboard already hidden, jammed between cartons near the west wall. Stillness on six.

He stood at the southeast window inside a barrier of cartons. The larger ones formed a wall about five feet high and carried a memory with them, a sense of a kid's snug hideout, making him feel apart and secure. Inside the barrier were four more cartons- one set lengthwise on the floor, two stacked, one small carton resting on the brick windowsill. A bench, a support, a gun rest. The wrapping paper he'd used to conceal the rifle was on the floor near his feet. Dust. Broken spider webs hanging from the ceiling. He saw a dime on the floor. He picked it up and put it in his pocket.

He looked down Houston Street as the motorcade approached, slow and vivid in the sun. There were people scattered on the lawns of Dealey Plaza, maybe a hundred and fifty, many with cameras. He held the rifle at port arms, more or less, and stood in plain view in the tall window. Everything looked so painfully clear.,

The President had chestnut hair and the First Lady was radiant in a pink suit and small round hat. Lee was glad she looked so good. For her own sake. For the cameras. For the pictures that would enter the permanent record.

He spotted Governor John Connally in one of the jump seats, a Stetson in his lap. He liked Connally's face, a rugged Texas face. This was the kind of man who would take a liking to Lee if he ever got to know him. Cartons stamped Books. Ten Rolling Readers. Everyone was grateful for the weather.

The white pilot car turned, the motorcycles turned. The Lincoln passed beneath him, easing left, making the deep turn left, seeming almost to rotate on an axis. Everything was slow and clear. He got down on one knee, placed his left elbow on the stacked cartons and rested the gun barrel on the edge of the carton on the sill. He sighted on the back of the President's head. The Lincoln moved into the cover of the live oak, going about ten miles an hour. Ready on the left, ready on the right. Through the scope he saw the car metal shine.

He fired through an opening in the leaf cover.

When the car was in the clear again, the President began to react.

Lee turned up the handle, drew the bolt back.

The President reacted, arms coming up, elbows high and wide.

There were pigeons, suddenly, everywhere, cracking down from the eaves and beating west.

The report sounded over the plaza, flat and clear.

The President's fists were clenched near his throat, arms bowed out.

Lee drove the bolt forward, jerking the handle down.

The Lincoln was moving slower now. It was almost dead still. It was sitting naked in the street eighty yards from the underpass.

Ready on the firing line.

Raymo got out of the supercharged Merc in the parking lot above the grassy embankment a little more than halfway down Elm. A wooden stockade fence enclosed the parking area, with trees and shrubs set alongside. The rear bumper of the car nudged the fence. There were ten or twelve cars parked nearby, many more in the spaces to the north and west.

Raymo stood a moment, rolling his shoulders. He gave a firm hoist to his balls, three quick jogs with the left hand. The fence was about five feet high, too high for him to brace his left arm comfortably. He went to the rear of the car and stood on the bumper. He looked out over the fence and across a stretch of lawn. The pilot car approached the Elm Street turn.

Frank Vasquez got out of the car on the driver's side. He carried a Weatherby Mark V, scope-mounted, loaded with soft-point bullets that explode on impact. He stood by the rear fender until Raymo extended a hand. Frank gave him the weapon.

He went back to the driver's seat. The car bounced when he got in and Raymo glanced back sharply.

The crowd noise from Main Street was still in the air, faintly, a rustle somewhere overhead, and Frank, with his back to the action, sat at the wheel listening. His view was past the railyards to the northwest. Water towers painted white. Power pylons trailing into a flat grim distance. All light and sky. He felt like he could see to the end of Texas.

Raymo stood just west of the point where the two sections of fence form a near-right angle. From the deep shade of the trees he looked out on a sun-dazzled scene. Small groups collecting on the grass on both sides of Elm," families, cameras, like the start of a picnic. The limousine came swinging into the street. People on the north side of Elm, their backs to Raymo, shaded their eyes from the sun. Other people waving, Kennedy waving, applause, sunlight, sharp glare on the hood of the limousine. A girl ran across the grass. The dangling men. Four men dangling from the sides of the follow-up car, only a few feet behind the blue Lincoln.

Dallas One. Repeat. I didn't get all of it.

Leon fired too soon, with the car passing under the tree. The report sounded like a short charge, a little weak, a defect, not enough powder.

Kennedy reacted late, without surprise at first, his arms coming up slowly like a man on a rowing machine.

The driver slowed to half-speed. The driver sat there. The other agent sat there. They were waiting for a voice to explain it.

Pigeons flared past.

Raymo eased the gun barrel out over the fence. He set his feet firmly on the bumper. His left forearm, bracing the weapon, was wedged between the tops of two pickets. He tilted his head to the stock. He waited, sighting through the scope.

On the grass a woman saw the limousine emerge from behind a freeway sign with the President clutching at his throat. She heard a sharp noise, like a backfiring car, and realized it was the second noise she'd heard. She thought she saw a man throw a boy to the grass and fall on top of him. She didn't really hear the first noise until she heard the second. A girl ran waving toward the limousine.

The noise cracked and flattened, washing across the plaza. This wasn't making sense at all.

There was so much clarity Lee could watch himself in the huge room of stacked cartons, scattered books, old brick walls, bare light bulbs, a small figure in a corner, partly hidden. He fired off a second shot.

He saw the Governor, who was turned right, begin to look the other way, then double up suddenly. A startle reaction. He knew this was called a startle reaction, from gun magazines.

He turned up the handle, drew the bolt back, then drove it forward.

Stand by a moment please.

Okay, he fired early the first time, hitting the President below the head, near the neck area somewhere. It was a foolishness he could dismiss on a certain level. Okay, he missed the President with the second shot and hit Connally. But the car was still sitting there, barely moving. He saw the First Lady lean toward the President, who was slumped down now. A man stood applauding at the edge of the telescopic frame.

Lee jerked the handle down and aimed. He heard the second spent shell roll across the floor.

There were roses on the seat between Jack and Jackie. The car's interior was a nice light blue. The man was so close he could have spoken to them. He stood at curbside applauding. A woman called out to the car, "Hey we want to take your picture." The President looked extremely puzzled, head leaning left. The man stood applauding, already deep in chaos, looking at crumpled bodies, a sense of guns coming out.

Put me on, Bill. Put me on.

Bobby W. Hargis, riding escort, left rear, knew he was hearing gunfire. There was a woman taking a picture and another woman about twenty feet behind her taking the same picture, only with the first woman in it. He couldn't tell where the shots were coming from, two shots, but knew someone was hit in the car. A man threw his kid to the ground and fell on him. That's a vet, Hargis had time to think, with the Governor, Connally, kind of sliding down in the jump seat and his wife taking him in, gathering the man in. Hargis turned right just after noticing a girl in a pretty coat running across the lawn toward the President's car. He turned his body right, keeping the motorcycle headed west on Elm, and then the blood and matter, the unforgettable thing, the sleet of bone and blood and tissue struck him in the face. He thought he'd been shot. The stuff hit him like a spray of buckshot and he heard it ping and spatter on his helmet. People were down on the grass. He kept his mouth closed tight so the fluid would not ooze in.

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