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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Forget the world. Be unmindful of the thing called the world.

All of life’s lost time is over now.

This is your long wish, to die with your brothers.

His breath came in short bursts. His eyes were burning. When he looked left, partway, he could see an empty seat in the first-class cabin, on the aisle. Straight ahead, the bulkhead. But there was a view, there was a scene of clear imagining out the back of his head.

He didn’t know how he’d been cut. He’d been cut by one of his brothers, how else, accidentally, in the struggle, and he welcomed the blood but not the pain, which was becoming hard to bear. Then he thought of something he’d long forgotten. He thought of the Shia boys on the battlefield in the Shatt al Arab. He saw them coming out of trenches and redoubts and running across the mudflats toward enemy positions, mouths open in mortal cry. He took strength from this, seeing them cut down in waves by machine guns, boys in the hundreds, then the thousands, suicide brigades, wearing red bandannas around their necks and plastic keys underneath, to open the door to paradise.

Recite the sacred words.

Pull your clothes tightly about you.

Fix your gaze.

Carry your soul in your hand.

He believed he could see straight into the towers even though his back was to them. He didn’t know the aircraft’s location but believed he could see straight out the back of his head and through the steel and aluminum of the aircraft and into the long silhouettes, the shapes, the forms, the figures coming closer, the material things.

The pious ancestors had pulled their clothes tightly about them before battle. They were the ones who named the way. How could any death be better?

Every sin of your life is forgiven in the seconds to come.

There is nothing between you and eternal life in the seconds to come.

You are wishing for death and now it is here in the seconds to come.

He began to vibrate. He wasn’t sure whether it was the motion of the plane or only himself. He rocked in his seat, in pain. He heard sounds from somewhere in the cabin. The pain was worse now. He heard voices, excited cries from the cabin or the cockpit, he wasn’t sure. Something fell off the counter in the galley.

He fastened his seatbelt.

A bottle fell off the counter in the galley, on the other side of the aisle, and he watched it roll this way and that, a water bottle, empty, making an arc one way and rolling back the other, and he watched it spin more quickly and then skitter across the floor an instant before the aircraft struck the tower, heat, then fuel, then fire, and a blast wave passed through the structure that sent Keith Neudecker out of his chair and into a wall. He found himself walking into a wall. He didn’t drop the telephone until he hit the wall. The floor began to slide beneath him and he lost his balance and eased along the wall to the floor.

He saw a chair bounce down the corridor in slow motion. He thought he saw the ceiling begin to ripple, lift and ripple. He put his arms over his head and sat knees up, face wedged between them. He was aware of vast movement and other things, smaller, unseen, objects drifting and skidding, and sounds that weren’t one thing or another but only sound, a shift in the basic arrangement of parts and elements.

The movement was beneath him and then all around him, massive, something undreamed. It was the tower lurching. He understood this now. The tower began a long sway left and he raised his head. He took his head out of his knees to listen. He tried to be absolutely still and tried to breathe and tried to listen. Out past the office door he thought he saw a man on his knees in the first pale wave of smoke and dust, a figure deep in concentration, head up, jacket halfway off, dangling from one shoulder.

In time he felt the tower stop leaning. The lean felt forever and impossible and he sat and listened and after a while the tower began to roll slowly back. He didn’t know where the phone was but he could hear a voice on the other end, still there, somewhere. He saw the ceiling begin to ripple. The stink of something familiar was everywhere but he didn’t know what it was.

When the tower swung finally back to vertical he pushed himself off the floor and moved to the doorway. The ceiling at the far end of the hall moaned and opened. The stress was audible and then it opened, objects coming down, panels and wallboard. Plaster dust filled the area and there were voices along the hall. He was losing things as they happened. He felt things come and go.

The man was still there, kneeling in the doorway of the office opposite, thinking hard about something, blood showing through his shirt. He was a client or consulting attorney and Keith knew him slightly and they exchanged a look. No telling what it meant, this look. There were people calling along the hall. He took his jacket off the door. He reached behind the door and took his jacket from the hook, not sure why he was doing this but not feeling stupid about it, forgetting to feel stupid.

He went down the hall, putting on the jacket. There were people moving toward the exits, in the other direction, moving, coughing, helping others. They stepped over debris, faces showing stark urgency. This was the knowledge in every face, the distance they had to cover to street level. They spoke to him, one or two, and he nodded back or didn’t. They spoke and looked. He was the guy who thought jackets were required, the guy going the wrong way.

The stink was fuel and he recognized it now, oozing down from floors above. He got to Rumsey’s office at the end of the hall. He had to climb in. He climbed over chairs and strewn books and a filing cabinet on its side. He saw bare framework, truss bars, where the ceiling had been. Rumsey’s coffee mug was shattered in his hand. He still held a fragment of the mug, his finger through the ring.

Only it didn’t look like Rumsey. He sat in his chair, head to one side. He’d been hit by something large and hard when the ceiling caved or even before, in the first spasm. His face was pressed into his shoulder, some blood, not much.

Keith talked to him.

He squatted alongside and took his arm and looked at the man, talking to him. Something came trickling from the corner of Rumsey’s mouth, like bile. What’s bile look like? He saw the mark on his head, an indentation, a gouge mark, deep, exposing raw tissue and nerve.

The office was small and makeshift, a cubicle wedged into a corner, with a limited view of morning sky. He felt the dead nearby. He sensed this, in the hanging dust.

He watched the man breathe. He was breathing. He looked like someone paralyzed for life, born this way, head twisted into his shoulder, living in a chair day and night.

There was fire up there somewhere, fuel burning, smoke blowing out of a ventilation duct, then smoke outside the window, crawling down the surface of the building.

He unbent Rumsey’s index finger and removed the broken mug.

He got to his feet and looked at him. He talked to him. He told him he could not wheel him out in the chair, wheels or not, because debris everywhere, he talked quickly, debris blocking door and hall, talking quickly to get himself to think in like manner.

Things began to fall, one thing and then another, things singly at first, coming down out of the gap in the ceiling, and he tried lifting Rumsey out of the chair. Then something outside, going past the window. Something went past the window, then he saw it. First it went and was gone and then he saw it and had to stand a moment staring out at nothing, holding Rumsey under the arms.

He could not stop seeing it, twenty feet away, an instant of something sideways, going past the window, white shirt, hand up, falling before he saw it. Debris in clusters came down now. There were echoes sounding down the floors and wires snapping at his face and white powder everywhere. He stood through it, holding Rumsey. The glass partition shattered. Something came down and there was a noise and then the glass shivered and broke and then the wall gave way behind him.

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