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Falling Man: A Novel Kindle Edition
Falling Man is a magnificent, essential novel about the event that defines turn-of-the-century America. It begins in the smoke and ash of the burning towers and tracks the aftermath of this global tremor in the intimate lives of a few people.
First there is Keith, walking out of the rubble into a life that he'd always imagined belonged to everyone but him. Then Lianne, his es-tranged wife, memory-haunted, trying to reconcile two versions of the same shadowy man. And their small son Justin, standing at the window, scanning the sky for more planes.
These are lives choreographed by loss, grief and the enormous force of history.
Brave and brilliant, Falling Man traces the way the events of September 11 have reconfigured our emotional landscape, our memory and our perception of the world. It is cathartic, beautiful, heartbreaking.
- LanguageEnglish
- PublisherScribner
- Publication dateMay 15, 2007
- File size2259 KB
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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
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Bookmarks Magazine
Copyright © 2004 Phillips & Nelson Media, Inc.
From Booklist
Copyright © American Library Association. All rights reserved
Review
"The clearest vision yet of what it felt like to live through that day." -- Malcolm Jones, Newsweek
"DeLillo is at his best...a keen imaginer...[writing] with exactitude and lyrical originality." -- James Wood, The New Republic
"Haunting...elegiac...masterful." -- Gail Caldwell, The Boston Globe
About the Author
From The Washington Post
Nobody bothered to think about it at the time, but from the moment the first airplane hit the World Trade Center in September 2001, one thing was inevitable: Don DeLillo would write a novel about it. DeLillo, as has been noted before in this space, is the novelist as op-ed pundit, a '60s recidivist who simply cannot resist the temptation to turn his novels into lectures or, upon occasion, harangues. So, of course, DeLillo simply had to write about Sept. 11, even though -- as the results all too clearly demonstrate -- he has nothing original or interesting to say about it.
Students of DeLillo's work (and university English departments are full of them) are going to be surprised by Falling Man and not, I suspect, happily. In the past, however gratuitous or disagreeable the political opinions with which his novels were larded, the clarity and sinew of his prose always had to be acknowledged and respected. At his most confident and accomplished, DeLillo can write. But Sept. 11 seems to have paralyzed him stylistically. The prose here often reads as if it were an entry in the annual Bad Hemingway competition, or perhaps a parody of Joan Didion at her most strained and breathy:
" 'What's next? Don't you ask yourself? Not only next month. Years to come.'
" 'Nothing is next. There is no next. This was next. Eight years ago they planted a bomb in one of the towers. Nobody said what's next. This was next. The time to be afraid is when there's no reason to be afraid. Too late now.'
"Lianne stood by the window.
" 'But when the towers fell.'
" 'I know.'
" 'When this happened.'
" 'I know.'
" 'I thought he was dead.'
" 'So did I,' Nina said. 'So many watching.'
" 'Thinking he's dead, she's dead.'
" 'I know.'
" 'Watching those buildings fall.'
" 'First one, then the other. I know,'
her mother said."
Precisely what DeLillo means this gibberish to signify is a complete mystery. Near-speechlessness in the face of incomprehensible calamity? Profundity so deep that only monosyllables can express it? Who knows? What is certain, though, is that people simply don't talk that way. Obviously, a writer of fiction is free to have his characters talk in any old way he likes, but if they end up babbling like caricatures, they forfeit all claim on the reader's credulity. If this were satire, it might work, but it isn't. It's the exact opposite: DeLillo is dead serious, solemn to the max.
Okay. The "he" to whom Lianne and her mother refer is Keith Neudecker. He is in his late 30s, and he was in the first tower when it was struck. He managed to get out and to stumble to Lianne's apartment on the Upper West Side. They had been separated for months, but instinct guided him back to her and their young son, Justin. Keith was injured (a torn cartilage in his left arm) and dazed, but sentient. He wanted human contact and so did she, and now that's what they have.
He also has a briefcase, "smaller than normal and reddish brown with brass hardware." He took it away from the World Trade Center, but it isn't his. Among the items inside are a "wallet with money, credit cards and a driver's license." He gets the owner's number and calls her, so he can return everything. Her name is Florence Givens. She is "a light-skinned black woman, his age or close, and gentle-seeming, and on the heavy side." They start to talk, and they like each other. Later he returns to her apartment:
"There was music coming from a back room, something classical and familiar but he didn't know the name of the piece or the composer. He never knew these things. They drank tea and talked. She talked about the tower, going over it again, claustrophobically, the smoke, the fold of bodies, and he understood that they could talk about these things only with each other, in minute and dullest detail, but it would never be dull or too detailed because it was inside them now and because he needed to hear what he'd lost in the tracings of memory. This was their pitch of delirium, the dazed reality they'd shared in the stairwells, the deep shafts of spiraling men and women."
Of course they end up in bed together -- from the minute Keith first walks through Florence's door, the reader knows they're going to end up in bed -- because, naturally, human contact is needed here, too. Their affair doesn't last long, and it ends with regret and mutual respect, but it's meant to be the connection Keith makes with what happened in the tower, a connection that Lianne cannot give him for the obvious reason that she wasn't there.
At one point in Falling Man, DeLillo writes: "They were still talking ten minutes later when Lianne left the room. She stood in the bathroom looking in the mirror. The moment seemed false to her, a scene in a movie when a character tries to understand what is going on in her life by looking in the mirror." Well, unfortunately most moments in this novel seem false to me. None of the characters ever emerges from cardboard wrapping, and none of the emotions DeLillo tries to arouse feels earned. He's letting the shock of Sept. 11 do his work for him, supplying the passions that his own surprisingly limp and lifeless prose cannot.
Apart from the three members of Keith's little family and Florence, there are a few other characters: Lianne's mother, Nina, and Nina's lover, Martin, a mysterious European who supplies the hint of darker things without which a DeLillo novel would not be a DeLillo novel; the men with whom Keith played poker in his bachelor apartment before the towers fell; playmates of Justin's with whom the boy speculates about a man called Bill Lawton, i.e., Bin Laden; older men and women, teetering toward Alzheimer's, who participate in "storyline sessions" that Lianne monitors; and a performance artist known as Falling Man. Lianne sees him near Grand Central Station:
"A man was dangling there, above the street, upside down. He wore a business suit, one leg bent up, arms at his sides. A safety harness was barely visible. . . . He brought it back, of course, those stark moments in the burning towers when people fell or were forced to jump. . . . Traffic was barely moving now. There were people shouting up at him, outraged at the spectacle, the puppetry of human desperation, a body's last fleet breath and what it held. It held the gaze of the world, she thought. There was the awful openness of it, something we'd not seen, the single falling figure that trails a collective dread, body come down among us all."
Sorry, but that doesn't work. Once again, DeLillo is merely piggybacking on Sept. 11, counting on those vivid images cemented in our memories to give this novel the force he's unable to instill in it himself. In the past, DeLillo has been a notably chilly writer, clinical rather than compassionate toward his characters, more interested in what he wants them to stand for than who they are. Here he's obviously trying to invest them with more human qualities, and he gets points for the effort, but he can't pull it off. The only emotions in this novel come from outside, from pictures on television, and that's not good enough.
Presumably this won't bother DeLillo's many admirers, and perhaps they will be able to find virtues in Falling Man that have eluded me. Fine. But this novel never pulls the reader in, never engages the reader with the minds, hearts and lives of its characters, never manages to be what readers most want from fiction: a story with which they can connect. "Learn something from the event," Martin tells Lianne, and that's not bad advice. But there's nothing to be learned from Falling Man about September 2001 -- or about anything else -- that you don't already know.
Copyright 2007, The Washington Post. All Rights Reserved.
Excerpt. © Reprinted by permission. All rights reserved.
It was not a street anymore but a world, a time and space of falling ash and near night. He was walking north through rubble and mud and there were people running past holding towels to their faces or jackets over their heads. They had handkerchiefs pressed to their mouths. They had shoes in their hands, a woman with a shoe in each hand, running past him. They ran and fell, some of them, confused and ungainly, with debris coming down around them, and there were people taking shelter under cars.
The roar was still in the air, the buckling rumble of the fall. This was the world now. Smoke and ash came rolling down streets and turning corners, busting around corners, seismic tides of smoke, with office paper flashing past, standard sheets with cutting edge, skimming, whipping past, otherworldly things in the morning pall.
He wore a suit and carried a briefcase. There was glass in his hair and face, marbled bolls of blood and light. He walked past a Breakfast Special sign and they went running by, city cops and security guards running, hands pressed down on gun butts to keep the weapons steady.
Things inside were distant and still, where he was supposed to be. It happened everywhere around him, a car half buried in debris, windows smashed and noises coming out, radio voices scratching at the wreckage. He saw people shedding water as they ran, clothes and bodies drenched from sprinkler systems. There were shoes discarded in the street, handbags and laptops, a man seated on the sidewalk coughing up blood. Paper cups went bouncing oddly by.
The world was this as well, figures in windows a thousand feet up, dropping into free space, and the stink of fuel fire, and the steady rip of sirens in the air. The noise lay everywhere they ran, stratified sound collecting around them, and he walked away from it and into it at the same time.
There was something else then, outside all this, not belonging to this, aloft. He watched it coming down. A shirt came down out of the high smoke, a shirt lifted and drifting in the scant light and then falling again, down toward the river.
They ran and then they stopped, some of them, standing there swaying, trying to draw breath out of the burning air, and the fitful cries of disbelief, curses and lost shouts, and the paper massed in the air, contracts, resumés blowing by, intact snatches of business, quick in the wind.
He kept on walking. There were the runners who'd stopped and others veering into sidestreets. Some were walking backwards, looking into the core of it, all those writhing lives back there, and things kept falling, scorched objects trailing lines of fire.
He saw two women sobbing in their reverse march, looking past him, both in running shorts, faces in collapse.
He saw members of the tai chi group from the park nearby, standing with hands extended at roughly chest level, elbows bent, as if all of this, themselves included, might be placed in a state of abeyance.
Someone came out of a diner and tried to hand him a bottle of water. It was a woman wearing a dust mask and a baseball cap and she withdrew the bottle and twisted off the top and then thrust it toward him again. He put down the briefcase to take it, barely aware that he wasn't using his left arm, that he'd had to put down the briefcase before he could take the bottle. Three police vans came veering into the street and sped downtown, sirens sounding. He closed his eyes and drank, feeling the water pass into his body taking dust and soot down with it. She was looking at him. She said something he didn't hear and he handed back the bottle and picked up the briefcase. There was an aftertaste of blood in the long draft of water.
He started walking again. A supermarket cart stood upright and empty. There was a woman behind it, facing him, with police tape wrapped around her head and face, yellow caution tape that marks the limits of a crime scene. Her eyes were thin white ripples in the bright mask and she gripped the handle of the cart and stood there, looking into the smoke.
In time he heard the sound of the second fall. He crossed Canal Street and began to see things, somehow, differently. Things did not seem charged in the usual ways, the cobbled street, the cast-iron buildings. There was something critically missing from the things around him. They were unfinished, whatever that means. They were unseen, whatever that means, shop windows, loading platforms, paint-sprayed walls. Maybe this is what things look like when there is no one here to see them.
He heard the sound of the second fall, or felt it in the trembling air, the north tower coming down, a soft awe of voices in the distance. That was him coming down, the north tower.
The sky was lighter here and he could breathe more easily. There were others behind him, thousands, filling the middle distance, a mass in near formation, people walking out of the smoke. He kept going until he had to stop. It hit him quickly, the knowledge that he couldn't go any farther.
He tried to tell himself he was alive but the idea was too obscure to take hold. There were no taxis and little traffic of any kind and then an old panel truck appeared, Electrical Contractor, Long Island City, and it pulled alongside and the driver leaned toward the window on the passenger's side and examined what he saw, a man scaled in ash, in pulverized matter, and asked him where he wanted to go. It wasn't until he got in the truck and shut the door that he understood where he'd been going all along.
Copyright © 2007 by Don DeLillo
From AudioFile
Product details
- ASIN : B000QJLQWQ
- Publisher : Scribner (May 15, 2007)
- Publication date : May 15, 2007
- Language : English
- File size : 2259 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Print length : 274 pages
- Best Sellers Rank: #657,929 in Kindle Store (See Top 100 in Kindle Store)
- #1,106 in Psychological Literary Fiction
- #1,749 in Classic American Literature
- #1,942 in Classic Literary Fiction
- Customer Reviews:
About the author
Don DeLillo is the author of fifteen novels, including Zero K, Underworld, Falling Man, White Noise, and Libra. He has won the National Book Award, the PEN/Faulkner Award for Fiction, the Jerusalem Prize for his complete body of work, and the William Dean Howells Medal from the American Academy of Arts and Letters. In 2010, he was awarded the PEN/Saul Bellow Prize. The Angel Esmeralda was a finalist for the 2011 Story Prize and the PEN/Faulkner Award for Fiction. In 2012, DeLillo received the Carl Sandburg Literary Award for his body of work.
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The story centers on a family in crisis whose remarkable characters are victims of both 9/11 and their own eccentricities. The sometimes husband and wife, Keith and Lianne revive their marriage bonds when he arrives at her apartment, debris-ridden and injured from the Trade Center. The autopilot marriage slowly disengages as their post-9/11 pursuits pull them apart. Even their young son, Justin, is part of a Greek Chorus for the disasters yet to come. The young Chorus may childishly envision "Ben Lawton" in their future, but indeed we continue to suffer the apocalyptic evil he personifies. Nina, Lianne's mother, and her never-husband, Martin, are vehicles for the mores and conventional judgments that measure our societal worth.
In the end though, what matters most to DeLillo is the individual right of self-determination and expression. Our actions during life's free-fall are our true worth. Keith and Lianne are flawed, but are compassionate, decent and will endure. The terrorist claiming piety confronts his mortality not in the arms of restless virgins, rather he discovers a fuselage of shrapnel, flames, and ashes. He is ultimately to be exhaled by the Towers, joining his victims in one final, mighty breath. Then heaven can truly judge him for his humanity.
Keith Neudecker is a real estate lawyer working in the World Trade Center when the plane hits. He survives and walks back into the life of his estranged wife right after the accident. In these tragic circumstances they try to patch up the remnants of their relationship. They have a precocious seven year old son, Justin, who doesn't say much but is affected enough by the attacks to start taking a binocular to the skies in search for more planes. Neither Lianne or Keith are especially sympathetic characters, but it's hard to tell if it's them or the way their personalities have been affected by the attacks. Near the end of the novel they are discussing what each wants and Lianne tells Keith, "You want to kill somebody". One of the things that is a bit perplexing about the story is we don't really know exactly what kind of people they were before the attacks. Keith's taciturn nature is what seems to have separated him from Lianne and the tragedy just magnifies this to a point where he drops out of life, he is so numb. Also, because of the attacks, both of them are on edge, prone to rage and have episodes of violence.
I actually came to appreciate the novel a little bit more after finishing it than while I was actually reading it. This was partly due to the vague writing style of DeLillo. He seems to be trying too hard, and the prose sometimes comes off a bit pretentious like a young novelist trying to find himself at a creative writing workshop. Give me the prose of John Irving, Russell Banks or Cormac McCarthy any day. The sections of the book dealing with Lianne's senior citizens' writing group and Lianne's mother and her German art dealer lover were particularly excruciating. And boring. But the impression the novel leaves as a whole is that this was a point in time that clearly separates everything that came before from everything after.
The best writing actually occurs in the closing sections of the three separate parts of the book which trace the doings of Hammad, one of the terrorists who ends up on the plane to hit the first tower. And the seamless way he connects Hammad and Keith at the end of the book is quite good.
Some people have mentioned that this novel wouldn't be a good choice for the first DeLillo novel to read. They may have been right. But I still plan to read "Underworld" and "White Noise".
** 1/2 stars (maybe ***)
Top reviews from other countries
Falling Man's title telegraphs it will be vintage Don. Maybe you recall the iconic photo of a business-attired denizen tumbling from a burning New York skyscraper on 9/11. Horrifying image of a terrible event. You can bet the author doesn't blink at evoking the dimensions of that historic day.
Some people find Delilo's language thick as the dust clouds choking escapees as they fled those collapsing buildings. As a lover of lexicon I find him singularly expressive. You do not want to rush through his composition, any more than one would breezily skim a David Foster Wallace epic.
As in other of his tomes, plot is not the key driver. Characters too take something of a back seat. What thickens the page is a potpourri of ideas and musings. How does someone making their way out of carnage process the myriad inputs? What does it mean to the typical person that America has shown itself vulnerable?
The book's Amazon page declares that "It is cathartic, beautiful, heartbreaking." Delilo might have used more words to say that himself, though you would have profited from his inimitable stylings.
Et dans le fond, la figure de cet homme, ce Falling Man, qui réactualise la tragédie en se jetant ponctuellement du haut de bâtiment comme pour rejouer et vider de son (non) sens et de son horreur la vision de ces américains qui se sont défenestrés pour échapper aux flammes...