There is September 11 and then there are the days after, and finally the years.
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.
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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Hard to imagine
This book brings a bit of perspective to this who were not directly involved, but watched from the news on the TV when we walked into work at Chili's that morning; in Texas. Although it is fiction, The Falling Man gives another look into this act of war on American soil. The description of "The day of the planes" helps take it out of the "Nine Eleven" phraseology so readily adopted and spewed on the media nationwide. The psychology of the characters dealing with this change in their life is intriguing.