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The Falling Man. 9/11. / 11.10.08

The Falling Man

In the picture, he departs from this earth like an arrow. Although he has not chosen his fate, he appears to have, in his last instants of life, embraced it. If he were not falling, he might very well be flying. He appears relaxed, hurtling through the air. He appears comfortable in the grip of unimaginable motion. He does not appear intimidated by gravity’s divine suction or by what awaits him. His arms are by his side, only slightly outriggered. His left leg is bent at the knee, almost casually. His white shirt, or jacket, or frock, is billowing free of his black pants.

His black high-tops are still on his feet. In all the other pictures, the people who did what he did — who jumped — appear to be struggling against horrific discrepancies of scale. They are made puny by the backdrop of the towers, which loom like colossi, and then by the event itself. Some of them are shirtless; their shoes fly off as they flail and fall; they look confused, as though trying to swim down the side of a mountain. The man in the picture, by contrast, is perfectly vertical, and so is in accord with the lines of the buildings behind him. He splits them, bisects them: Everything to the left of him in the picture is the North Tower; everything to the right, the South. Though oblivious to the geometric balance he has achieved, he is the essential element in the creation of a new flag, a banner composed entirely of steel bars shining in the sun.

Some people who look at the picture see stoicism, willpower, a portrait of resignation; others see something else — something discordant and therefore terrible: freedom. There is something almost rebellious in the man’s posture, as though once faced with the inevitability of death, he decided to get on with it; as though he were a missile, a spear, bent on attaining his own end. He is, fifteen seconds past 9:41 a.m. EST, the moment the picture is taken, in the clutches of pure physics, accelerating at a rate of thirty-two feet per second squared. He will soon be traveling at upwards of 150 miles per hour, and he is upside down. In the picture, he is frozen; in his life outside the frame, he drops and keeps dropping until he disappears.

They began jumping not long after the first plane hit the North Tower, not long after the fire started. They kept jumping until the tower fell. They jumped through windows already broken and then, later, through windows they broke themselves. They jumped to escape the smoke and the fire; they jumped when the ceilings fell and the floors collapsed; they jumped just to breathe once more before they died. They jumped continually, from all four sides of the building, and from all floors above and around the building's fatal wound. They jumped from the offices of Marsh & McLennan, the insurance company; from the offices of Cantor Fitzgerald, the bond-trading company; from Windows on the World, the restaurant on the 106th and 107th floors -- the top. For more than an hour and a half, they streamed from the building, one after another, consecutively rather than en masse, as if each individual required the sight of another individual jumping before mustering the courage to jump himself or herself. One photograph, taken at a distance, shows people jumping in perfect sequence, like parachutists, forming an arc composed of three plummeting people, evenly spaced. Indeed, there were reports that some tried parachuting, before the force generated by their fall ripped the drapes, the tablecloths, the desperately gathered fabric, from their hands. They were all, obviously, very much alive on their way down, and their way down lasted an approximate count of ten seconds. They were all, obviously, not just killed when they landed but destroyed, in body though not, one prays, in soul.

They were called "jumpers" or "the jumpers," as though they represented a new lemming-like class. No one ever got used to it; no one who saw it wished to see it again, although, of course, many saw it again. Each jumper, no matter how many there were, brought fresh horror, elicited shock, tested the spirit, struck a lasting blow. Those tumbling through the air remained, by all accounts, eerily silent; those on the ground screamed.

Taken from: http://www.esquire.com/features/ESQ0903-SEP_FALLINGMAN

/Hopped!
8:22 PM

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