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 wasn’t sure what had brought this on, maybe something that someone had said, passingly, at an earlier point. Maybe Martin was having an argument with the dead, with Nina. They were clearly wishing they’d gone home, the colleagues, before the coffee and biscuits. This was not the occasion, the woman said, to argue global politics. Nina could have done it better than any of us, she said, but Nina isn’t here and the talk dishonors her memory.

Martin waved a hand in dismissal, rejecting the narrow terms of discourse. He was a link to her mother, Lianne thought. That’s why she’d stayed in touch. Even when her mother was alive, fadingly, he helped Lianne think of her in clearer outline. Ten or fifteen minutes on the phone with him, a man etched in regret but also love and reminiscence, or longer conversations that wandered toward an hour, and she’d feel both sadder and better, seeing Nina in a kind of freeze-frame, vivid and alert. She’d tell her mother about these calls and watch her face, looking hard for a sign of light.

Now she watched him.

The colleagues insisted on picking up the check. Martin did not contest the matter. He was done with them. They embodied a form of cautionary tact better left to state funerals in autocratic countries. Before leaving, the library director took a sunflower from the bud vase at the center of the table and placed it in the breast pocket of Martin’s jacket. He did this with a smile, possibly hostile, maybe not. Then he finally spoke, standing over the table and fitting his long body into a raincoat.

“If we occupy the center, it’s because you put us there. This is your true dilemma,” he said. “Despite everything, we’re still America, you’re still Europe. You go to our movies, read our books, listen to our music, speak our language. How can you stop thinking about us? You see us and hear us all the time. Ask yourself. What comes after America?”

Martin spoke quietly, almost idly, to himself.

“I don’t know this America anymore. I don’t recognize it,” he said. “There’s an empty space where America used to be.”

They stayed, she and Martin, the only patrons left in the long room, below street level, and talked for some time. She told him about the last hard months of her mother’s life, ruptured blood vessels, loss of muscle control, the smeared speech and empty gaze. He bent low over the table, breathing audibly. She wanted to hear him talk about Nina and he did. It seemed all she’d known of her mother for an extended time was Nina in a chair, Nina in a bed. He lifted her into artists’ lofts, Byzantine ruins, into halls where she’d lectured, Barcelona to Tokyo.

“I used to imagine, when I was a girl, that I was her. I stood sometimes in the middle of the room and spoke to a chair or sofa. I said very smart things about painters. I knew how to pronounce every name, all the hard names, and I knew their paintings from books and museum visits.”

“You were frequently alone.”

“I couldn’t understand why my mother and father split up. My mother never cooked. My father never seemed to eat. What could go wrong?”

“You will always be a daughter, I think. First and always, this is what you are.”

“And you are always what?”

“I am always your mother’s lover. Long before I knew her. Always that. It was waiting to happen.”

“You almost make me believe it.”

The other thing she wanted to believe was that his physical bearing was not evidence of illness or some steep financial setback affecting his morale. It was the end of the long story, he and Nina, that had brought him to this dispirited point. Nothing more or less than that. This is what she believed and this is what stirred her sympathy.

“Some people are lucky. They become who they are supposed to be,” he said. “This did not happen to me until I met your mother. One day we started to talk and it never stopped, this conversation.”

“Even at the end of things.”

“Even when we no longer found agreeable things to say or anything at all to say. The conversation never ended.”

“I believe you.”

“From the first day.”

“In Italy,” she said.

“Yes. This is true.”

“And the second day. In front of a church,” she said. “The two of you. And someone took your picture.”

He looked up and seemed to study her, wondering what else she knew. She would not tell him what she knew or that she’d made no effort to find out more. She had not gone to libraries to examine the histories of underground movements in those years and she had not searched the Internet for traces of the man called Ernst Hechinger. Her mother hadn’t, she hadn’t.

“There’s a plane to catch.”

“What would you do without your planes?”

“There’s always a plane to catch.”

“Where would you be?” she said. “One city, which one?”

He’d come for the day, without a suitcase or carry-on. He’d sold his New York apartment and had reduced the number of his commitments here.

“I don’t think I’m ready to face that question. One city,” he said, “and I am trapped.”

They knew him here and the waiter brought complimentary brandies. They lingered a while longer, into twilight. She realized she would never see him again.

She’d respected his secret, yielded to his mystery. Whatever it was he’d done, it was not outside the lines of response. She could imagine his life, then and now, detect the slurred pulse of an earlier consciousness. Maybe he was a terrorist but he was one of ours, she thought, and the thought chilled her, shamed her-one of ours, which meant godless, Western, white.

He stood and lifted the flower out of his breast pocket. Then he smelled it and tossed it on the table, smiling at her. They touched hands briefly and went out to the street, where she watched him walk to the corner, arm raised to the tide of passing cabs.

11

The dealer touched the green button, a fresh deck rose to the tabletop.

In these months of mastering the game he was spending most of his time on the Strip now, sitting in leather recliners in the sports-book parlors, hunched under shade canopies in the poker rooms. He was finally making money, quiet amounts that began to show consistency. He was also going home periodically, three or four days, love, sex, fatherhood, home-cooked food, but was lost at times for something to say. There was no language, it seemed, to tell them how he spent his days and nights.

Soon he felt the need to be back there. When his plane came down over the desert he could easily believe that this was a place he’d always known. There were standard methods and routines. Taxi to the casino, taxi back to his hotel. He managed on two meals a day, didn’t require more. The heat pressed into metal and glass, made the streets seem to shimmer. At the table he didn’t study players for tells, didn’t care why they coughed or seemed bored or scratched a forearm. He studied the cards and knew the tendencies. There was that and the blinking woman. He remembered her from the casino downtown, invisible except for the fretful eyes. The blinking was not a tell. It was only who she was, some grown man’s mother firing chips into the pot, blinking in nature’s own arrangement, like a firefly in a field. He drank hard liquor sparingly, nearly not at all, and allowed himself five hours’ sleep, barely aware of setting limits and restrictions. Never occurred to him to light up a cigar, as in the old days, at the old game. He walked through crowded hotel lobbies under hand-painted Sistine ceilings and into the high glare of this or that casino, not looking at people, seeing essentially no one, but every time he boarded a flight he glanced at faces on both sides of the aisle, trying to spot the man or men who might be a danger to them all.

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