Don Delillo - Falling Man

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Amazon.com Review
The defining moment of turn-of-the-21st-century America is perfectly portrayed in National Book Award winner Don DeLillo's Falling Man. The book takes its title from the electrifying photograph of the man who jumped or fell from the North Tower on 9/11. It also refers to a performance artist who recreates the picture. The artist straps himself into a harness and in high visibility areas jumps from an elevated structure, such as a railway overpass or a balcony, startling passersby as he hangs in the horrifying pose of the falling man.
Keith Neudecker, a lawyer and survivor of the attack, arrives on his estranged wife Lianne's doorstep, covered with soot and blood, carrying someone else's briefcase. In the days and weeks that follow, moments of connection alternate with complete withdrawl from his wife and young son, Justin. He begins a desultory affair with the owner of the briefcase based only on their shared experience of surviving: "the timeless drift of the long spiral down." Justin uses his binoculars to scan the skies with his friends, looking for "Bill Lawton" (a misunderstood version of bin Laden) and more killing planes. Lianne suddenly sees Islam everywhere: in a postcard from a friend, in a neighbor's music-and is frightened and angered by its ubiquity. She is riveted by the Falling Man. Her mother Nina's response is to break up with her long-time German lover over his ancient politics. In short, the old ways and days are gone forever; a new reality has taken over everyone's consciousness. This new way is being tried on, and it doesn't fit. Keith and Lianne weave into reconciliation. Keith becomes a professional poker player and, when questioned by Lianne about the future of this enterprise, he thinks: "There was one final thing, too self-evident to need saying. She wanted to be safe in the world and he did not."
DeLillo also tells the story of Hammad, one of the young men in flight training on the Gulf Coast, who says: "We are willing to die, they are not. This is our srength, to love death, to feel the claim of armed martyrdom." He also asks: "But does a man have to kill himself in order to accomplish something in the world?" His answer is that he is one of the hijackers on the plane that strikes the North Tower.
At the end of the book, De Lillo takes the reader into the Tower as the plane strikes the building. Through all the terror, fire and smoke, De Lillo's voice is steady as a metronome, recounting exactly what happens to Keith as he sees friends and co-workers maimed and dead, navigates the stairs and, ultimately, is saved. Though several post-9/11 novels have been written, not one of them is as compellingly true, faultlessly conceived, and beautifully written as Don De Lillo's Falling Man. -Valerie Ryan
From Publishers Weekly
Starred Review. When DeLillo's novel Players was published in 1977, one of the main characters, Pammy, worked in the newly built World Trade Center. She felt that "the towers didn't seem permanent. They remained concepts, no less transient for all their bulk than some routine distortion of light." DeLillo's new novel begins 24 years later, with Keith Neudecker standing in a New York City street covered with dust, glass shards and blood, holding somebody else's briefcase, while that intimation of the building's mortality is realized in a sickening roar behind him. On that day, Keith, one half of a classic DeLillo well-educated married couple, returns to Lianne, from whom he'd separated, and to their young son, Justin. Keith and Lianne know it is Keith's Lazarus moment, although DeLillo reserves the bravura sequence that describes Keith's escape from the first tower-as well as the last moments of one of the hijackers, Hammad-until the end of the novel. Reconciliation for Keith and Lianne occurs in a sort of stunned unconsciousness; the two hardly engage in the teasing, ludic interchanges common to couples in other DeLillo novels. Lianne goes through a paranoid period of rage against everything Mideastern; Keith is drawn to another survivor. Lianne's mother, Nina, roils her 20-year affair with Martin, a German leftist; Keith unhooks from his law practice to become a professional poker player. Justin participates in a child's game involving binoculars, plane spotting and waiting for a man named "Bill Lawton." DeLillo's last novel, Cosmopolis, was a disappointment, all attitude (DeLillo is always a brilliant stager of attitude) and no heart. This novel is a return to DeLillo's best work. No other writer could encompass 9/11 quite like DeLillo does here, down to the interludes following Hammad as he listens to a man who "was very genius"-Mohammed Atta. The writing has the intricacy and purpose of a wiring diagram. The mores of the after-the-event are represented with no cuteness-save, perhaps, the falling man performance artist. It is as if Players, The Names, Libra, White Noise, Underworld-with their toxic events, secret histories, moral panics-converge, in that day's narrative of systematic vulnerability, scatter and tentative regrouping.

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She stopped at Harold Apter’s office in the East 80s on her way to 116th Street. She did this periodically, dropping off photocopies of her group’s written pieces and discussing their situations in general. This is where Dr. Apter saw people for consultation, Alzheimer patients and others.

Apter was a slight man with frizzed hair who seemed formulated to say funny things but never did. They talked about the fade of Rosellen S., the aloof bearing of Curtis B. She told him she would like to increase the frequency of the meetings to twice a week. He told her this would be a mistake.

“From this point on, you understand, it’s all about loss. We’re dealing inevitably here with diminishing returns. Their situation will grow increasingly delicate. These encounters need space around them. You don’t want them to feel there’s an urgency to write everything, say everything before it’s too late. You want them to look forward to this, not feel pressed or threatened. The writing is sweet music up to a point. Then other things will take over.”

He looked at her searchingly.

“What I’m saying is simple. This is for them,” he said.

“What do you mean?”

“It’s theirs,” he said. “Don’t make it yours.”

They wrote about the planes. They wrote about where they were when it happened. They wrote about people they knew who were in the towers, or nearby, and they wrote about God.

How could God let this happen? Where was God when this happened?

Benny T. was glad he was not a man of faith because he would lose it after this.

I am closer to God than ever, Rosellen wrote.

This is the devil. This is hell. All that fire and pain. Never mind God. This is hell.

Omar H. was afraid to go out on the street in the days after. They were looking at him, he thought.

I didn’t see them holding hands. I wanted to see that, Rosellen wrote.

Carmen G. wanted to know whether everything that happens to us has to be part of God’s plan.

I am closer to God than ever, am closer, will be closer, shall be closer.

Eugene A., in a rare appearance, wrote that God knows things we don’t know.

Ashes and bones. That’s what’s left of God’s plan.

But when the towers fell, Omar wrote.

I keep hearing they were holding hands when they jumped.

If God let this happen, with the planes, then did God make me cut my finger when I was slicing bread this morning?

They wrote and then read what they’d written, each in turn, and there were remarks and then exchanges and then monologues.

“Show us the finger,” Benny said. “We want to kiss it.”

Lianne encouraged them to speak and argue. She wanted to hear everything, the things everybody said, ordinary things, and the naked statements of belief, and the depth of feeling, the passion that saturated the room. She needed these men and women. Dr. Apter’s comment disturbed her because there was truth in it. She needed these people. It was possible that the group meant more to her than it did to the members. There was something precious here, something that seeps and bleeds. These people were the living breath of the thing that killed her father.

“God says something happens, then it happens.”

“I don’t respect God no more, after this.”

“We sit and listen and God tells us or doesn’t.”

“I was walking down the street to get my hair cut. Somebody comes running.”

“I was on the crapper. I hated myself later. People said where were you when it happened. I didn’t tell them where I was.”

“But you remember to tell us. That’s beautiful, Benny.”

They interrupted, gestured, changed the subject, talked over each other, shut their eyes in thought or puzzlement or in dismal re-experience of the event itself.

“What about the people God saved? Are they better people than the ones who died?”

“It’s not ours to ask. We don’t ask.”

“A million babies die in Africa and we can’t ask.”

“I thought it was war. I thought it was war,” Anna said. “I stayed inside and lit a candle. It’s the Chinese, my sister said, who she never trusted with the bomb.”

Lianne struggled with the idea of God. She was taught to believe that religion makes people compliant. This is the purpose of religion, to return people to a childlike state. Awe and submission, her mother said. This is why religion speaks so powerfully in laws, rituals and punishments. And it speaks beautifully as well, inspiring music and art, elevating consciousness in some, reducing it in others. People fall into trances, people literally go to the ground, people crawl great distances or march in crowds stabbing themselves and whipping themselves. And other people, the rest of us, maybe we’re rocked more gently, joined to something deep in the soul. Powerful and beautiful, her mother said. We want to transcend, we want to pass beyond the limits of safe understanding, and what better way to do it than through make-believe.

Eugene A. was seventy-seven years old, hair gelled and spiked, a ring in his ear.

“I was scrubbing the sink for once in my life when the phone rings. It’s my ex-wife,” he said, “that I haven’t talked to in like seventeen years, is she even alive or dead, calling from somewhere I can’t even pronounce it, in Florida. I say what. She says never mind what. That same voice of no respect. She says turn on TV.”

“I had to watch at a neighbor,” Omar said.

“Seventeen years, not one word. Look what has to happen before she finally gets it in her head to call. Turn on TV, she tells me.”

The cross talk continued.

“I don’t forgive God what He did.”

“How do you explain this to a child whose mother or father?”

“You lie to children.”

“I wanted to see that, the ones that were holding hands.”

“When you see something happening, it’s supposed to be real.”

“But God. Did God do this or not?”

“You’re looking right at it. But it’s not really happening.”

“He has the big things that He does. He shakes the world,” said Curtis B.

“I would say to someone at least he didn’t die with a tube in his stomach or wearing a bag for his waste.”

“Ashes and bones.”

“I am closer to God, I know it, we know it, they know it.”

“This is our prayer room,” Omar said.

No one wrote a word about the terrorists. And in the exchanges that followed the readings, no one spoke about the terrorists. She prompted them. There has to be something you want to say, some feeling to express, nineteen men come here to kill us.

She waited, not certain what it was she wanted to hear. Then Anna C. mentioned a man she knew, a fireman, lost in one of the towers.

All along Anna had been slightly apart, interjecting only once or twice, matter-of-factly. Now she used hand gestures to help direct her story, sitting hard and squat in a flimsy folding chair, and no one interrupted.

“If he has a heart attack, we blame him. Eats, overeats, no exercise, no common sense. That’s what I told the wife. Or he dies of cancer. Smoked and couldn’t stop. That was Mike. If it’s cancer, then it’s lung cancer and we blame him. But this, what happened, it’s way too big, it’s outside someplace, on the other side of the world. You can’t get to these people or even see them in their pictures in the paper. You can see their faces but what does it mean? Means nothing to call them names. I’m a name-caller from before I was born. Do I know what to call these people?”

Lianne suspected what this was. It was a response defined in terms of revenge and she welcomed this, the small intimate wish, however useless in a hellstorm.

“He dies in a car crash or walking across the street, hit by a car, you can kill the person in your mind a thousand times, the driver. You couldn’t do the actual thing, in all honesty, because you don’t have the wherewithal, but you could think it, you could see it in your mind and get some trade-off from that. But here, with these people, you can’t even think it. You don’t know what to do. Because they’re a million miles outside your life. Which, besides, they’re dead.”

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