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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Wrong-eyed men and women laughing on TV, their military forces defiling the Land of the Two Holy Places.

Amir had made the pilgrimage to Mecca. He was a hajji, fulfilling the duty, saying the funeral prayer, salat al-janaza, claiming fellowship with those who’d died on the journey. Hammad did not feel deprived. They were soon to perform another kind of duty, unwritten, all of them, martyrs, together.

But does a man have to kill himself in order to count for something, be someone, find the way?

Hammad thought about this. He recalled what Amir had said. Amir thought clearly, in straight lines, direct and systematic.

Amir spoke in his face.

The end of our life is predetermined. We are carried toward that day from the minute we are born. There is no sacred law against what we are going to do. This is not suicide in any meaning or interpretation of the word. It is only something long written. We are finding the way already chosen for us.

You look at Amir and see a life too intense to last another minute, maybe because he never fucked a woman.

But what about this, Hammad thought. Never mind the man who takes his own life in this situation. What about the lives of the others he takes with him?

He was not eager to bring this up with Amir but did finally, the two of them alone in the house.

What about the others, those who will die?

Amir was impatient. He said they’d talked about such matters in principle when they were in Hamburg, in the mosque and in the flat.

What about the others?

Amir said simply there are no others. The others exist only to the degree that they fill the role we have designed for them. This is their function as others. Those who will die have no claim to their lives outside the useful fact of their dying.

Hammad was impressed by this. It sounded like philosophy.

Two women rustling through a park in the evening, in long skirts, one of them barefoot. Hammad sat on a bench, alone, watching, then got up and followed. This was something that just happened, the way a man is pulled out of his skin and then the body catches up. He followed only to the street where the park ended, watching as they disappeared, brief as turning pages.

The windshield is birdproof. The aileron is a movable flap.

He prays and sleeps, prays and eats. These are dumb junk meals often taken in silence. The plot shapes every breath he takes. This is the truth he has always looked for without knowing how to name it or where to search. They are together. There is no word they can speak, he and the others, that does not come back to this.

One of them peels an orange and begins to pick it apart.

You think too much, Hammad.

Men spent years organizing secretly this work.

Yes, okay.

I saw, myself, these men walking through the camp when we are there.

Okay. But the thinking is done.

And the talking.

Okay. Now we do it.

He hands a slice of orange over to Hammad, who is driving.

My father, the other man says, he would die three hundred times to know what we are doing.

We die once.

We die once, big-time.

Hammad thinks of the rapture of live explosives pressed to his chest and waist.

But don’t forget, we are being stopped any minute by the CIA, the other man says.

He says this and then he laughs. Maybe it’s not true anymore. Maybe it’s a story they’ve told themselves so many times that they’ve stopped believing it. Or maybe they didn’t believe it then and only begin to believe it now, nearing the time. Hammad sees nothing funny in this, either way.

The people he looked at, they need to be ashamed of their attachment to life, walking their dogs. Think of it, dogs scraping at dirt, lawn sprinklers hissing. When he saw a storm bearing in from the gulf he wanted to spread his arms and walk right into it. These people, what they hold so precious we see as empty space. He didn’t think about the purpose of their mission. All he saw was shock and death. There is no purpose, this is the purpose.

When he walks down the bright aisle he thinks a thousand times in one second about what is coming. Clean-shaven, on videotape, passing through the metal detector. The girl at the checkout rolls the soup can over the scanner and he thinks of something funny he can say, saying it internally first to get the word order right.

He looked past the mud-brick huts toward the mountains. Bomb vest and black hood. We are willing to die, they are not. This is our strength, to love death, to feel the claim of armed martyrdom. He stood with the others in the old Russian copper mine, an Afghan camp now, theirs, and they listened to the amplified voice calling across the plain.

The vest was blue nylon with crisscross straps. There were canisters of high explosive wired into the belt. There were slabs of plastique high on his chest. This was not the method he and his brothers would one day employ but it was the same vision of heaven and hell, revenge and devastation.

They stood and listened to the recorded announcement, calling them to prayer.

Now he sits in the barber chair, wearing the striped cape. The barber is a slight man with little to say. The radio plays news, weather, sports and traffic. Hammad does not listen. He is thinking again, looking past the face in the mirror, which is not his, and waiting for the day to come, clear skies, light winds, when there is nothing left to think about.

PART THREE. DAVID JANIAK

10

They walked the entire route, north for twenty blocks and then across town and finally down toward Union Square, a couple of miles in steam heat, with police in riot helmets and flak jackets, small children riding their parents’ shoulders. They walked with five hundred thousand others, a bright swarm of people ranging sidewalk to sidewalk, banners and posters, printed shirts, coffins draped in black, a march against the war, the president, the policies.

She felt remote from the occasion even as it pressed upon her. Police helicopters went beating overhead and there was a rank of men chanting and screaming at the marchers. Justin took a leaflet from a woman in a black headscarf. She had pigment dappled on her hands and looked off toward some middle distance, avoiding eye contact. People stopped to watch a burning float, papiermâché, and the crowd became more dense, collapsing in on itself. She tried to take the kid’s hand but that was over now. He was ten and thirsty and went dodging off to the other side of the street, where a man sold soft drinks from stacked crates. There were a dozen police nearby, positioned in front of red netting that was draped beneath a construction scaffold. This is where they would detain the overcommitted and uncontrollable.

A man came up to her, slouching out of the crowd, black man, hand on heart, and said, “This here’s Charlie Parker’s birthday.”

He was almost looking at her but not quite and then moved on and said the same thing to a man wearing a T-shirt inscribed with a peace sign and in his reproachful tone she caught the implication that all these people, these half million in their running shoes and sun hats and symbol-bearing paraphernalia, were shit-faced fools to be gathered in this heat and humidity for whatever it was that had brought them here when they might more suitably be filling these streets, in exactly these numbers, to show respect to Charlie Parker on his birthday.

If her father were here, if Jack, he would probably agree. And, yes, she felt a separation, a distance. This crowd did not return to her a sense of belonging. She was here for the kid, to allow him to walk in the midst of dissent, to see and feel the argument against war and misrule. She wanted, herself, to be away from it all. These three years past, since that day in September, all life had become public. The stricken community pours forth voices and the solitary night mind is shaped by the outcry. She was content in the small guarded scheme she’d lately constructed, arranging the days, working the details, staying down, keeping out. Cut free from rage and foreboding. Cut free from nights that sprawl through endless waking chains of self-hell. She was marching apart from the handheld slogans and cardboard coffins, the mounted police, the anarchists throwing bottles. It was all choreography, to be shredded in seconds.

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