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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He stood at the National Rent-A-Fence barrier and looked into the haze, seeing the strands of bent filigree that were the last standing things, a skeletal remnant of the tower where he’d worked for ten years. The dead were everywhere, in the air, in the rubble, on rooftops nearby, in the breezes that carried from the river. They were settled in ash and drizzled on windows all along the streets, in his hair and on his clothes.

He realized someone had joined him at the fence, a man in a dust mask who maintained a calculated silence designed to be broken.

“Look at it,” he said finally. “I say to myself I’m standing here. It’s hard to believe, being here and seeing it.”

His words were muffled by the mask.

“I walked to Brooklyn when it happened,” he said. “I don’t live there. I live way uptown on the west side but I work down around here and when it happened everybody was walking across the bridge to Brooklyn and I went with them. I walked across the bridge because they were walking across the bridge.”

It sounded like a speech defect, the words smothered and blurred. He took out his cell phone and entered a number.

“I’m standing here,” he said but had to repeat himself because the person he was talking to could not hear him clearly.

“I’m standing here,” he said.

Keith headed in the direction of his apartment building. He saw three men in hard hats and NYPD windbreakers, with search dogs on short leads. They came walking toward him and one of the men tilted his head in inquiry. Keith told him where he was going, mentioned the cats and the children. The man paused to tell him that the tower at One Liberty Plaza, fifty-plus stories, near where Keith was going, was about to fucking fall down. The other men stood by impatiently and the first man told him that the building was actually and measurably moving. He nodded and waited for them to leave and went south once more and then west again through mostly empty streets. Two Hasidic men stood outside a shop with a broken window. They looked a thousand years old. When he approached his building he saw workers in respirators and protective body suits scouring the sidewalk with a massive vacuum pump.

The front doors were blown in or kicked in. It was not looters, he thought. He thought that people had taken desperate shelter, taken cover wherever they could when the towers came down. The entrance hall reeked of garbage uncollected in the basement. He knew that the electricity had been restored and there was no reason not to take the elevator but he climbed the nine flights to his apartment, pausing on floors three and seven to stand at the near end of the long corridors. He stood and listened. The building seemed empty, it felt and sounded empty. When he entered his apartment he stood a while, just looking around. The windows were scabbed in sand and ash and there were fragments of paper and one whole sheet trapped in the grime. Everything else was the same as it had been when he walked out the door for work that Tuesday morning. Not that he’d noticed. He’d lived here for a year and a half, since the separation, finding a place close to the office, centering his life, content with the narrowest of purviews, that of not noticing.

But now he looked. Some light entered between splashes of window grit. He saw the place differently now. Here he was, seen clear, with nothing that mattered to him in these two and a half rooms, dim and still, in a faint odor of nonoccupancy. There was the card table, that was all, with its napped green surface, baize or felt, site of the weekly poker game. One of the players said baize, which is imitation felt, he said, and Keith more or less conceded this. It was the one uncomplicated interval of his week, his month, the poker game-the one anticipation that was not marked by the bloodguilt tracings of severed connections. Call or fold. Felt or baize.

This was the last time he would stand here. There were no cats, there were only clothes. He put some things in a suitcase, a few shirts and trousers and his trekking boots from Switzerland and to hell with the rest. This and that and the Swiss boots because the boots mattered and the poker table mattered but he wouldn’t need the table, two players dead, one badly injured. A single suitcase, that was all, and his passport, checkbooks, birth certificate and a few other documents, the state papers of identity. He stood and looked and felt something so lonely he could touch it with his hand. At the window the intact page stirred in the breeze and he went over to see if it was readable. Instead he looked at the visible sliver of One Liberty Plaza and began to count the floors, losing interest about halfway up, thinking of something else.

He looked in the refrigerator. Maybe he was thinking of the man who used to live here and he checked the bottles and cartons for a clue. The paper rustled at the window and he picked up the suitcase and walked out the door, locking it behind him. He went about fifteen paces into the corridor, away from the stairwell, and spoke in a voice slightly above a whisper.

He said, “I’m standing here,” and then, louder, “I’m standing here.”

In the movie version, someone would be in the building, an emotionally damaged woman or a homeless old man, and there would be dialogue and close-ups.

The truth is that he was wary of the elevator. He didn’t want to know this but did, unavoidably. He walked down to the lobby, smelling the garbage coming closer with every step he took. The men with the vacuum pump were gone. He heard the drone and grind of heavy machinery at the site, earthmoving equipment, excavators that pounded concrete to dust, and then the sound of a klaxon that signaled danger, possible collapse of a structure nearby. He waited, they all waited, and then the grind began again.

He went to the local post office to pick up his undelivered mail and then walked north toward the barricades, thinking it might be hard to find a taxi at a time when every cabdriver in New York was named Muhammad.

4

Their separation had been marked by a certain symmetry, the steadfast commitment each made to an equivalent group. He had his poker game, six players, downtown, one night a week. She had her storyline sessions, in East Harlem, also weekly, in the afternoon, a gathering of five or six or seven men and women in the early stages of Alzheimer’s disease.

The card games ended after the towers fell but the sessions took on a measure of intensity. The members sat on folding chairs in a room with a makeshift plywood door in a large community center. A steady bang and clatter bounced off the hallway walls. There were children racing around, adults in special classes. There were people playing dominoes and ping-pong, volunteers preparing food deliveries to elderly people in the area.

The group had been started by a clinical psychologist who left Lianne alone to conduct these meetings, which were strictly for morale. She and the members talked a while about events in the world and in their lives and then she handed out lined pads and ballpoint pens and suggested a topic they might write about or asked them to choose one. Remembering my father, that sort of thing, or What I always wanted to do but never did, or Do my children know who I am.

They wrote for roughly twenty minutes and then each, in turn, read aloud what he or she had written. Sometimes it scared her, the first signs of halting response, the losses and failings, the grim prefigurings that issued now and then from a mind beginning to slide away from the adhesive friction that makes an individual possible. It was in the language, the inverted letters, the lost word at the end of a struggling sentence. It was in the handwriting that might melt into runoff. But there were a thousand high times the members experienced, given a chance to encounter the crossing points of insight and memory that the act of writing allows. They laughed loud and often. They worked into themselves, finding narratives that rolled and tumbled, and how natural it seemed to do this, tell stories about themselves.

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