The
climactic chapter of Libra in which
Kennedy is assassinated is chockfull of imagery. This is one of the reasons I
love this chapter. In only a couple dozen of pages, DeLillo has inserted so
much meaning. One of my favorite images that DeLillo uses in the chapter is the
“Texas face.”
As
Lee prepares to shoot the president, he takes a moment to take in the sights of
the motorcade. At this point, he is still cocky and hasn’t thought things
through, and is thus overly optimistic. As he watches the president’s car pass,
he sees the governor:
He
spotted Governor John Connally in one of the jump seats, a Stetson in his lap.
He liked Connally’s face, a rugged Texas face. This was the kind of man who
would take a liking to Lee if he ever got to know him. (DeLillo 395)
Later
in the chapter, as Lee is starting to realize that he has been put on and is
actually in danger after having fired the shots, he imagines another Texas
face:
He
was already talking to someone about this. He had a picture, he saw himself
telling the whole story to someone, a man with a rugged Texas face, but
friendly, but understanding. Pointing out the contradictions. Telling how he
was tricked into the plot. What is it called, a patsy? He saw a picture of an
office with a tasseled flag, dignitaries in photos on the wall. (DeLillo 401)
In
this passage, with Lee arguably starting to see the situation with less of his
narcissism and optimism, you can see his worry. The image of the “Texas face”
strikes me because it so accurately captures how Lee thinks and acts throughout
the book. He starts out thinking nothing can go wrong, and then he is proven
wrong. A lot of the Lee’s character can be summed up in these two short
passages.
Interestingly,
and as a bit of a side note, DeLillo makes it very obvious that these passages
are to be thought about in conjunction. In addition to the image of the “Texas
face,” DeLillo also adds images after both of these passages involving cartons
and books. Immediately after the first mention in this chapter of the “Texas
face,” DeLillo adds the sentence, “Cartons stamped Books” (395). After the
second passage, he writes, “Books stacked ten cartons high” (DeLillo 401).
Lee's idea of a "Texas face" calls to mind his desire for a father figure, which is implicit throughout the novel. He imagines this older male figure who will understand and sympathize with him. (And like the "judge" Marguerite addresses, it implicitly casts the reader as this potentially sympathetic audience.)
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