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Libra (Contemporary American Fiction) Paperback – May 1, 1991
| Don DeLillo (Author) Find all the books, read about the author, and more. See search results for this author |
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In this powerful, unsettling novel, Don DeLillo chronicles Lee Harvey Oswald's odyssey from troubled teenager to a man of precarious stability who imagines himself an agent of history. When "history" presents itself in the form of two disgruntled CIA operatives who decide that an unsuccessful attempt on the life of the president will galvanize the nation against communism, the scales are irrevocably tipped.
A gripping, masterful blend of fact and fiction, alive with meticulously portrayed characters both real and created, Libra is a grave, haunting, and brilliant examination of an event that has become an indelible part of the American psyche.
- Print length480 pages
- LanguageEnglish
- PublisherPenguin Books
- Publication dateMay 1, 1991
- Grade level12 and up
- Reading age18 years and up
- Dimensions7.73 x 5.04 x 0.85 inches
- ISBN-109780140156041
- ISBN-13978-0140156041
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Editorial Reviews
Review
Finalist for the National Book Award for Fiction
"[DeLillo's] richest novel . . . It's in commonplace moments that [he] reveals his genius . . . a triumph."
—Anne Tyler, The New York Times
"Much of DeLillo’s earlier fiction now seems a brilliant prelude to [this novel] . . . Libra displays his genius for creative paranoia: he fills the gaps in the record with his imagination, spinning a brilliant web out of a heap of improbable coincidences."
—London Review of Books
"[Libra] is like a stop-motion frame of the crossfire, a still picture of an awful moment . . . DeLillo's prose has a quality of demented lyricism."
—The New Yorker
"Extraordinary intensity . . . unforgiving thoroughness . . . DeLillo has created a thriller of the most profound sort . . . Libra is electrifying, a book alive with suggestion."
—Chicago Tribune
"Libra operates at a dizzyingly high level of intensity throughout; it's that true fictional rarity—a novel of admirable depth and relevance that's also a terrific page-turner."
—USA Today
From the Back Cover
Chicago Tribune
"Libra operates at a dizzyingly high level of intensity throughout; its that true fictional raritya novel of admirable depth and relevance thats also a terrific page-turner."
USA Today
"DeLillos novel is like a stop-motion frame of the crossfire, a still picture of an awful moment.... [His] prose has a quality of demented lyricism."
The New Yorker
About the Author
In 1997, he published the bestselling Underworld, and in 1999 he was awarded the Jerusalem Prize, given to a writer whose work expresses the theme of the freedom of the individual in society; he was the first American author to receive it. He is also a member of the American Academy of Arts and Letters.
Product details
- ASIN : 0140156046
- Publisher : Penguin Books; Reissue edition (May 1, 1991)
- Language : English
- Paperback : 480 pages
- ISBN-10 : 9780140156041
- ISBN-13 : 978-0140156041
- Reading age : 18 years and up
- Grade level : 12 and up
- Item Weight : 11.2 ounces
- Dimensions : 7.73 x 5.04 x 0.85 inches
- Best Sellers Rank: #213,789 in Books (See Top 100 in Books)
- #691 in Biographical Historical Fiction
- #873 in Biographical Fiction (Books)
- #12,955 in Literary Fiction (Books)
- 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 novel is as imperfect in its telling as the story of Lee Harvey Oswald is historically. I believe that to be intentional, having the ability to see Delillo’s technique in other works by contrast. The dialogue now is mature and focused, never random and window-dressing. Oswald almost has to be interesting no matter his treatment, but these other anonymous figures made famous only by the JFK movie flash and come back according to a well-timed pace. Although I knew Oswald would get to the point of going to the Soviet Union and working in Dallas, I was satisfied by the relationship he had with his mother and with the streets of New York, then New Orleans. It does invoke empathy. Oswald never becomes likable because he never learns how to spell and complete his own prophecy of intellectual revolt and short story writer. Although he is consistently a peon, he maintains the ability to surprise and to approach cult status; he’s never at the point of “loved to hate”. His relationship with Marina, sometimes violent but then very intimate and quiet, is a perfect example. The “patsy” claim is another and more famous one.
Jack Ruby was Jewish. His club was burlesque and the one in Dallas was not the only one. He did not belong at Oswald’s death, but in 1963 our security measures had a long way to go. Ruby killed himself in jail, he wished, by ramming his head into walls and by standing in water with his hand in a socket, but in reality he had to die more slowly by cancer in 1967. He was a perplexed Bob Ford-type figure. The biggest mystery is why Ruby killed Oswald. There was $40K involved, a loan that would be forgiven. He was also trying to be a Jewish hero, lamenting a few times how bad things would be had Kennedy’s killer been a Jew. Politically, he had no more allegiance than Oswald had clarity. The U-2 story is one to follow. I can remember the last name of the pilot, Powers, who had a strange death himself after the Soviets let him go. The real politics in this novel belongs to the radical right Oswald hated, a General Walker, whom Oswald failed to kill from just a few yards in his first attempt at being a sniper.
“Raymo eased the gun barrel over the fence” on page 397. Oswald fired first, and then there was this magic bullet.
I see now why Ellroy loves the book. DeLillo's take is very persuasive and executed with high art. DeLillo's Oswald is an alienated loner, seeking to connect with something important. He's not sure what that is--a momentous event, a large historical process? He distrusts all governments--ours, the USSR's, the Mexicans'--and moves mercurially between ideologies. He serves in the military; he defects to Russia; he leaves Russia; he flees his mother though she is the only steady point in his life; he marries a Russian woman but beats her and drives her away. As those who would seek to exploit him realize, he is both vague and weak but sometimes strong and determined. He has been bullied and brutalized in the past but he has somehow survived; he could be the perfect tool.
It is an old principle in literary study that the more you get to know a character the more you like that character, even if the character is radically flawed. DeLillo is working against that principle and he does so successfully. The more we get to know Oswald . . . the more we get to know him. We do not like him; we simply begin to understand him as a figure more pathetic than malevolent, more sad than savage, more lost and doomed than the other characters in the shadows who populate his world.
The other dark forces--Castro-hating CIA agents, bitter Mafiosi, uber-weird right-wingers like David Ferrie--are beautifully realized and ultimately part of the strange stew in which Lee Harvey Oswald ultimately finds himself. In capturing the characters DeLillo is capturing the times. He does that very well. He also captures the places, particularly New Orleans and Dallas, though we get a feel for Miami as well.
DeLillo's structure is largely chronological, but he switches between characters and points of view and offers an overall impression that coheres very nicely. Much of the character depiction is phenomenological, with a summation of experiences, impressions, insights, glimpses, momentary realizations. This is very Ellroyesque and we can see DeLillo's influence in many ways.
Finally, this is a piece of historical fiction which is very plausible, very moving and very, very sad. The writing is generally exquisite. The characters and events (as Conrad would say) have been very carefully contemplated. In Heart of Darkness Conrad writes of the `brooding gloom' that hangs over London and its environs. If it's brooding gloom that you want, here, in Libra, is God's plenty.
Highly recommended.
The thing is that you know how this book is pretty much going to go if you have a sense of the details around the assignation and Oswald’s life. DeLillo does manage to make it interesting, as it becomes a psychological portrait not only of Oswalt but of his relationships with his mother and his wife. Weirdly, I feel a real kinship and sympathy for the person that DeLillo creates as Lee Harvey. He’s a bit of a patsy and he wants to make the world better but more than anything he is just a smart kid lost in his own world.
Top reviews from other countries
it is not a "conspiracy" novel as such, because while it deals with a lot of that kind of material surrounding the assassination of j.f.k., it's main achievement lies in an investigation of how many of the "cast" - oswald in particular, of course - might have thought and felt and reached their positions and attitudes.
delillo brilliantly gets imaginatively "inside" the minds of his characters, and their memories and the forces that drive them. whether his insights are "true" is beside the point. he goes into their histories and interactions and makes you believe in them from the inside.
in the end it is this examination of the thoughts and feelings and souls and minds of the principal characters in those fervent times that is the subject of this book, as much as the actual connections that may, or may not, have lead to the final act.
james ellroy covers the same material very differently, if also brilliantly. interestingly i heard ellroy on the radio choosing "libra" as his one "desert island" favourite book. it is not hard to see why.








