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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They walked toward the towers now, amid the sweep and crisscross of masses of people.

All right. But what if the digits don’t always total ten? You’re riding the subway, say, and you’re sitting eyes down, Keith said, and you’re absentmindedly scanning the aisle, and you see a pair of sandals, and you count and count again, and there are nine digits, or eleven.

Rumsey took this question with him up to his cubicle in the sky, where he went back to work on less arresting matters, on money and property, contracts and titles.

One day later he said, I would ask her to marry me.

And later still, Because I would understand that I was cured, like Lourdes, and could stop counting now.

Keith watched her across the table.

“When did it happen?”

“About an hour ago.”

“That dog,” he said.

“I know. It was a crazy thing to do.”

“What happens now? You’ll see her in the hall.”

“I don’t apologize. That’s what happens.”

He sat and nodded, watching her.

“Hate to say it but when I came up the stairs just now.”

“You don’t have to say it.”

“The music was playing,” he said.

“I guess that means she wins.”

“No louder, no softer.”

“She wins.”

He said, “Maybe she’s dead. Lying there.”

“Dead or alive, she wins.”

“That dog.”

“I know. It was totally crazy. I could hear myself speaking. My voice was like it was coming from somebody else.”

“I’ve seen that animal. The kid fears that animal. Won’t say it but does.”

“What is it?”

“A Newfoundland.”

“The whole province,” she said.

“You’re lucky.”

“Lucky and crazy. Marko.”

He said, “Forget the music.”

“He spells his name with a k.”

“So do I. Forget the music,” he said. “It’s not a message or a lesson.”

“But it’s still playing.”

“It’s still playing because she’s dead. Lying there. Being sniffed by big dog.”

“I need to get more sleep. That’s what I need,” she said.

“Big dog sniffing dead woman’s crotch.”

“I wake up at some point every night. Mind running nonstop. Can’t stop it.”

“Forget the music.”

“Thoughts I can’t identify, thoughts I can’t claim as mine.”

He kept watching her.

“Take something. Your mother knows about this. This is how people sleep.”

“I have a history with the things people take. They make me crazier. They make me stupid, make me forget.”

“Talk to your mother. She knows about this.”

“Can’t stop it, can’t go back to sleep. Takes forever. Then it’s morning,” she said.

The truth was mapped in slow and certain decline. Each member of the group lived in this knowledge. Lianne found it hardest to accept in the case of Carmen G. She appeared to be two women simultaneously, the one sitting here, less combative over time, less clearly defined, speech beginning to drag, and the younger and slimmer and wildly attractive one, as Lianne imagines her, a spirited woman in her reckless prime, funny and blunt, spinning on a dance floor.

Lianne herself, bearing her father’s mark, the potential toll of plaque and twisted filaments, had to look at this woman and see the crime of it, the loss of memory, personality and identity, the lapse into eventual protein stupor. There was the page she wrote and then read aloud, meant to be an account of her day, yesterday. This was not the piece they’d all agreed to write. This was Carmen’s piece.

I wake up thinking where’s everybody. I’m alone because that’s who I am. I’m thinking where’s the rest of them, wide awake, don’t want to get up. It’s like I need my documents to get out of bed. Prueba de ingreso. Prueba de dirección. Tarjeta de seguro social. Picture ID. My father who told jokes he didn’t care clean or dirty the kids have to learn these things. I had two husbands they were different except for their hands. I still look at a man’s hands. Because somebody said it’s a question of which brain is working today because everybody has two brains. Why is it the hardest thing in the world, get out of bed. I have a plant that needs water all the time. I never thought a plant could be work.

Benny said, “But where’s your day? You said this is your day.”

“This is the first like ten seconds. This is still in bed. Next time we’re here maybe I finish getting out of bed. Next time after that I wash my hands. That’s day three. Day four, my face.”

Benny said, “We live that long? By the time you take a pee we all be fatal.”

Then it was her turn. They’d been asking and then urging. They’d all written something, said something about the planes. It was Omar H. who brought it up again, in his earnest way, right arm raised.

“Where were you when it happened?”

For nearly two years now, ever since the storyline sessions began, with her marriage receding into the night sky, she’d listened to these men and women speak about their lives in funny, stinging, straightforward and moving ways, binding the trust among them.

She owed them a story, didn’t she?

There was Keith in the doorway. Always that, had to be that, the desperate sight of him, alive, her husband. She tried to follow the sequence of events, seeing him as she spoke, a figure floating in reflected light, Keith in pieces, in small strokes. The words came fast. She recalled things she didn’t know she’d absorbed, the fragment of spangled glass on the lid of his eye, as if sewn there, and how they’d walked to the hospital, nine or ten blocks, in near deserted streets, in halting steps and deepest silence, and the young man who assisted, a deliveryman, a kid, helping support Keith with one hand and holding a pizza carton with the other, and she nearly asked him how someone could phone in an order for takeout if the phones were not working, a tall Latino kid but maybe not, holding the carton by the bottom, balanced on the palm of his hand and out away from his body.

She wanted to stay focused, one thing following sensibly upon another. There were moments when she wasn’t talking so much as fading into time, dropping back into some funneled stretch of recent past. They sat dead still, watching her. People, lately, watched her. She seemingly needed watching. They were depending on her to make sense. They were waiting for words from her side of the line, where what is solid does not melt.

She told them about her son. When he was nearby, within sight or touch, in himself, in motion, the fear eased off. Other times she could not think of him without being afraid. This was Justin disembodied, the child of her devising.

Unattended packages, she said, or the menace of lunch in a paper bag, or the subway at rush hour, down there, in sealed boxes.

She could not look at him sleep. He became a child in some jutting future. What do children know? They know who they are, she said, in ways we can’t know and they can’t tell us. There are moments frozen in the run of routine hours. She could not look at him sleep without thinking of what was yet to come. It was part of his stillness, figures in a silent distance, fixed in windows.

Please report any suspicious behavior or unattended packages. That was the wording, wasn’t it?

She almost told them about the briefcase, the fact of its appearance and disappearance and what it meant if anything. Wanted to tell them but did not. Tell them everything, say everything. She needed them to listen.

Keith used to want more of the world than there was time and means to acquire. He didn’t want this anymore, whatever it was he’d wanted, in real terms, real things, because he’d never truly known.

Now he wondered whether he was born to be old, meant to be old and alone, content in lonely old age, and whether all the rest of it, all the glares and rants he had bounced off these walls, were simply meant to get him to that point.

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