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There's always more to it. This is what history consists of. It is the sum total of things they aren't telling us.

The novel offers a tragic and speculative account of the elements leading to the assassination of U.S. President John F. Kennedy. Delillo incorporates many of Oswald's and his mother Marguerite's actual words, along with numerous documented facts about Lee Harvey Oswald's life and times. This makes it difficult to distinguish where public records end and fiction begins. In fact, Delillo is careful to remind us that his novel makes "no claim to literal truth" and that he "made no attempt to furnish factual answers to any questions raised by the assassination."

It's significant to note that several films speculating on Lee Harvey Oswald, a conspiracy, and the JFK assassination, like Oliver Stone's "JFK" in 1991, came after the 1988 publication of Delillo's "Libra." Initially, I gave the novel only 4 stars when I finished it earlier this year. But the more I think about it, the more impressed I am with Delillo's brilliance and imaginative creation.

Delillo expertly avoids labeling this as a political novel through his character Nicholas Branch, a researcher who undertakes the nearly impossible task of finding patterns in a mountain of data and distinguishing them from mere coincidence. Branch/Delillo concludes that Kennedy's death was a product of a mixture of confederacy and chance, or "a rambling affair that succeeded in the short term mainly due to chance."

Specifically, Delillo portrays Oswald as a lonely and grotesque fringe dweller who becomes the perfect shill for a plot by current and former CIA operatives to take a shot at JFK, with the unsuccessful attempt to be blamed on Cuba. To reach the ultimate point, Delillo takes us on a truncated tour through Oswald's life of trying to escape his fate and futilely searching for a place to fit in.

First and foremost, Lee Harvey spends his life trying to forget his overbearing mother, Marguerite, who is both compelling and revolting. Delillo depicts her through her unique way of speaking to a judge, providing a list of excuses and complaints about the poverty in which she raised her son and the way he turned out.

Then, he is a Marine who, after discharge, defects to Soviet Russia, only to be disappointed in its Westernization and return to the States as a Marxist with a Russian wife. Finally, he sees Cuba as a possible vista.

A few things in this novel fascinated me uniquely. One is the theme of entropy seen in other Delillo novels, that it's impossible to control people and events according to a plan.

Second, Delillo's appreciation for the awkward vernacular of professionals, like the CIA, and the staccato dialect of the uneducated.

Third and most singular is how Delillo shows Oswald as being captivated by media imagery. I can't help but believe that many recent mass murderers also project themselves as being played out in images on living room TV screens. After being shot by Ruby, Oswald imagines how the shot looked on camera. Back in Russia, when he tried to commit suicide just before being expelled, he views his razor slices across his wrist while a violin plays offstage. Finally, as Lee Harvey fades away, he pans out, watching himself from "a darkish room, someone's den."

I was truly and pleasantly surprised by just how readable and fluid Libra turned out to be. DeLillo has masterfully crafted a compelling and utterly convincing counter history regarding the assassination of JFK. In many respects, this work reminded me of the better of Mario Vargas Llosa's creative histories of Central America. He imbuues both real and imagined figures with consciousness, all while operating within the framework of historical "truth."

The story of Lee H. Oswald was indeed interesting, but for me, the machinations of the (perhaps imagined?) disgruntled operatives were the real strong point of this novel. Even though there has been an abundance of discourse about the subjectivity of History since the time this book was published, it still manages to possess a certain poignancy. What exactly is the distance that stands between History and "truth" - to the extent that anything can be considered universally true? And importantly, who gets to determine what serves as the historical basis for truth? Are the numerous seemingly random events that define history actually part of some secret and subversive plot(s)? If you were to ask DeLillo (or Pynchon, or many other paranoia-post-modern writers), the elusive answer would be that it just might be.

For any individual, what is the difference between the objectivity of events and their subjective interpretations of them? If reality is only "real" through the filter of interpretation, then the body of what someone believes becomes their reality, until and unless it encounters exterior friction or counter-evidence. There was a time when people took the word of History as gospel, but that time has most certainly passed. You could easily imagine a similarly counter-factual (or "alternate factual") history akin to Libra for many contemporary events - from QAnon and Pizzagate to the January 6th insurrection - and you could probably find such accounts somewhere on Reddit or some other dark and damp corner of the internet (albeit presented far less skillfully than in this book).

When surveying the History of America, there is ample evidence of interested and subversive parties within the government truly and actually influencing the contours of our present reality. So, is the theory expounded in this novel really that much of a departure from what may have actually happened? Maybe someone knows, but the rest of us can only speculate. As I was reading Libra, I found myself believing more and more in such a possibility, and in many more possibilities as well.

I would wholeheartedly recommend this book for its numerous merits. In all the major facets of the Novel, it scores very highly. Characterization, plot, dialogue - all are at a high level. For the questions it poses about history, politics, and reality, it is both an irresistibly readable and also a very thoughtful exploration, without the divisive antics that are typical of "post-modern" sprawling works.

When I finally finished it, I had an overwhelming sensation.

I truly thought I was on the verge of throwing up. The nausea was intense and it felt as if my stomach was in a complete turmoil.

Moreover, my head was in a strange state. It felt as if I was at the bottom of a pool, with a heavy and dizzying feeling.

The pressure seemed to be weighing me down, making it difficult to think clearly or even stand steadily.

I could hardly bear the discomfort that was overwhelming my body.

It was a truly unpleasant experience that I would not wish upon anyone.

Every part of me was protesting against what I had just endured.

I just wanted to find a quiet place to lie down and try to recover from this awful state.

My body and mind were both in a state of exhaustion and distress.

I hoped that this feeling would pass soon and that I could return to a normal state of being.

Historical fiction centered around the assassination of John F. Kennedy offers a unique perspective. It delves into the psychological profile of Lee Harvey Oswald, tracing his life from youth to the fateful moment when he fired the shots from the Book Depository in Dallas. However, the author candidly admits that much of it is fabricated and does not represent the actual events. I have classified it as alternate history. My thoughts on this book are rather ambivalent. On one hand, it is well-written, with engaging prose that draws the reader in. On the other hand, I struggle to overcome my aversion to stories that fuel conspiracy theories. I found myself much more inclined towards White Noise.

This is Delillo's profound take on the JFK assassination. The novel, as a result, has a pre-existing and truly compelling plot. Once more, I was completely astonished by the sheer beauty and the remarkable wisdom of his writing. His portrayal of Lee Harvey Oswald is nothing short of a masterpiece in evoking the intricate complexity that one single human being can encompass. It is without a doubt, wholly recommended.

The way Delillo weaves the story around this historical event is truly captivating. He delves deep into the psyche of the characters, especially Oswald, bringing to life a man who is both a mystery and yet, in some ways, relatable. The language he uses is rich and vivid, painting a vivid picture in the reader's mind. Each sentence seems to be carefully crafted to convey not just the events, but also the emotions and the underlying themes. It is a novel that makes you think, makes you feel, and leaves a lasting impression.

Whether you are a fan of historical fiction or simply a lover of great literature, this novel is a must-read. It is a testament to Delillo's talent as a writer and his ability to create a work that is both engaging and thought-provoking. So, do yourself a favor and pick up this novel. You won't be disappointed.

This was my first encounter with Don DeLillo, but it most definitely will not be my last.

Libra was initially published in 1988, yet this audio version was released in 2016. It presented a bit of a challenge in audio format, requiring close attention to avoid missing the switch in narrator. The reader was decent, and the story was truly captivating.

Ah yes, the story - the JFK assassination or rather a novelist's suggestion of a possible (and quite plausible) conspiracy. The assassination doesn't occur until near the end, but we all know it's coming, and the basic facts about it, including Jack Ruby killing Lee Harvey Oswald before anyone has heard his story of what happened. DeLillo's conspiracy begins with two disgruntled (one of whom has been demoted) CIA operatives devising a scheme to reveal the truth behind the Bay of Pigs. They are anti-Castro and can't fathom that the JFK administration has moved on to other issues post-Bay of Pigs. The plan involves an attempted assassination of JFK in Miami.

The book is almost a biography of Oswald. Following what is known about his life, DeLillo constructs Oswald's character using Oswald himself as the narrator. In the Oswald parts of the book, we are inside Oswald's head, listening to him think and act. And he just gets stranger and stranger!

This book brought back those November days in 1963 when my sister and I were glued to the TV. I can still vividly see Ruby shooting Oswald and the pandemonium that ensued. Of course, we were in school when the President was shot. I remember that all the teachers left their classrooms and their students to go to the teachers' lounge to listen to the radio. They then came back, told us that JFK was dead, and that the buses were coming to take us home.

I thoroughly enjoyed this audiobook. It was a fascinating exploration of a historical event and a fictionalized account that kept me engaged from start to finish.

Second Reading.

I have just completed my second reading of this remarkable piece. The more I delved into it, the more I discovered its hidden depths and charms.

During this second encounter, I noticed details that I had previously overlooked. The author's use of language is truly masterful, painting vivid pictures in my mind and evoking a range of emotions.

The story flows seamlessly, captivating my attention from start to finish. I found myself completely immersed in the world that the author has created.

As a result of this second reading, I have decided to raise my rating from four stars to five stars. This work truly deserves the highest accolade. It is a literary gem that I will surely return to again and again.

I highly recommend this piece to anyone who appreciates great literature. It is an unforgettable reading experience that will leave you spellbound.

Nutshell: The account of JFK assassination is soporific, intermixed with the bildungsroman of the assassin, with the implied subtitle The Sorrows of Young Lee Harvey.

The narrative is bifurcated into alternating sections. The first set, designated by locus: New Orleans, Moscow, Dallas, follows Oswald. The second set, designated by tempus: 20 May, 25 September, 22 November, follows CIA losers, anti-castroites, and other unsavories.

The text explicitly ties tempus and locus together in Oswald: “from early childhood he liked histories and maps” (10). The first locus chapter advises that Oswald’s truancy problems don't make him a “criminal who is put away for study. They have made my boy a matter on the calendar” (11), hinting not to take the tempus chapters too seriously. Conversely, the first tempus chapter reveals that one character will be “hired on contract to write a secret history of the assassination of President Kennedy” (15), which is what the author is essentially doing.

These bits serve as the instruction manual for reading the novel: the calendar chapters are like the criminal put away for study, but with a maternal insistence that he's just a good boy. The holy occupant chapters trace back to the shadowy unsavories in the CIA and anti-castro ex-pat groups.

The remainder of the novel unfolds the holy jade idolatry of assassination. While espionage thrillers aren't my subgenre and JFK conspiracism seems like a rightwing hobby, the novel has its merits. The prose is great at the sentence level, and there's a forthright presentation of known US crimes. There are also cool musings by LHO on Marxism and life in the Soviet Union, and nice topical details about New Orleans.

Rightwing ideas are mocked fairly openly. One numbnut believes “Red Chinese troops are being dropped into the Baja” (352), and Ferrie tells him that the rapture of the fear of believing matters more than the truth. This is the general rule for reading JFK conspiracism and the cold war policies in the novel.

There's a cute refrain throughout the LHO bits where he constantly compares himself to Trotsky, paralleling his domestic situation. As for the actual JFK conspiracism, the opening premise is that some CIA thugs wanted a false flag near-miss on JFK, which somehow matures into a direct hit. Recommended for those with specific interests.

Coming off of White Noise, I was rather hesitant to pick this up. You know, after reading one particular work, it's not always easy to decide on the next one. There are so many factors to consider. But boy, am I really happy that I did!

This book has truly become one of my new favorites for sure. It has something special that just grabbed my attention from the very beginning. The story unfolds in a way that keeps you on the edge of your seat, eager to turn the next page. The characters are well-developed and relatable, making you feel as if you are right there with them in their adventures.

I'm so glad I took the chance and gave this book a try. It has definitely exceeded my expectations and has found a special place in my heart among my favorite reads. I can't wait to recommend it to others and share the joy of reading this wonderful piece of literature.

“Who did the president, who killed Kennedy, fuck man! It's a mystery! It's a mystery wrapped in a riddle inside an enigma! The fuckin' shooters don't even know!” This statement sets the tone for what is to come in this remarkable work of historical fiction.

Libra is perhaps a near-perfect example of the genre. Its research is so thorough that some characters don't have wikipedia pages but can be found on government webpages, blurring the lines between fact and fiction. The prose is incredible, with DeLillo's unique ability to turn simple sentences into paragraphs teeming with significance. The shifting perspectives add to the overall reading experience, making it near blissful to read.

One of the main reasons this book feels so authentic is because DeLillo never allows the reader to step into the shoes of the characters. Instead, the reader is firmly placed in an omnipotent position, looking down at the events unfold. This gives a different perspective on the themes of paranoia and control, which are explored in great depth.

Despite not being interested in the JFK assassination before reading this book, I found myself completely engrossed and jumping from wikipedia page to wikipedia page after finishing. I cannot recommend Libra enough. It is a remarkable book that keeps the intrigue of America's greatest conspiracy relevant going into the next century.

In Libra, DeLillo brings to life a labyrinthine and chaotic novel where the sense of the plot seems to be lost on every page. However, there is an explanation for everything. Apparently uncorrelated events and characters that seem unconnected at first glance project forward from distant sources to be channeled into a single moment in history: six seconds in Dallas on November 22, 1963.

DeLillo asks, what if the assassination of Kennedy was the work of a CIA conspiracy? What if the agency's agents, disgusted by the Bay of Pigs fiasco and alarmed by the signs of a growing rapprochement between Kennedy and Castro, plotted to stage a failed assassination attempt on the president that would involve Castro's supporters? What if they took Lee Harvey Oswald - a former deserter who fled to Russia, a communist sympathizer who returned to America after two years with a Russian wife and children in tow - as a scapegoat? And, finally, what if they decided that a successful assassination would be even more effective than a failed one? These are the questions that DeLillo surely asked himself as he prepared to lock himself in the house to read the massive volumes of the Warren Commission, a total of 26.

The book focuses a great deal on the life of Lee Oswald, on his feeling of always being out of place, maladjusted, marginalized, and antisocial, feelings that also lead him to be violent. Since childhood, his life has been one of transit, full of endless moves and different dwellings that never become a home. This sense of not belonging to anything leads him to develop a profound terror of invisibility: the fear of being nobody, of being just a marginalized person whose destiny matters to no one, terrifies Oswald, who seizes every pretext to identify with any model that comes his way (American marines, Russian revolutionaries, even President Kennedy...).

A character so fragile and malleable is perfect for the CIA, which can truly "direct" him towards an act that in the end will seem to Oswald himself to be the simple realization of his destiny, what was determined by History.

There is another narrative plane in Libra, represented by Nicholas Branch, a sort of literary alter ego of DeLillo himself, tasked with studying and rewriting the secret history of the president's assassination for the CIA. The work seems to be on the verge of impossibility, because apparently insignificant documents continue to rain down on him, leaving him in a state of discomfort for most of the time. What we can deduce thanks to Branch is that DeLillo's position does not go so far as to ridicule (as many do, instead) the Warren Commission: Oswald fired, but he was not the only one; however, he was the only scapegoat, because it was much simpler that way, because an event of such magnitude required an immediate resolution: the president's assassin could not not be arrested within a few hours. The original plan, organized by Win Everett (a former CIA agent), envisaged an organized failure that would serve as a warning to Kennedy, a persuasive "suggestion" aimed at radically changing the policy towards Castro; but, as often happens with plots, the idea has a life of its own, spreads from mouth to mouth, changes form, intercepts the desires of other forces (FBI, mafia, anti-Castro Cuban exiles...) and reaches hands that operate differently from its originator: the murder of Kennedy is almost a coincidence, the fulfillment of hundreds of speculations and plots reduced to a few seconds of History.

«You think of two parallel lines – he said. – One is the life of Lee H. Oswald. The other is the plot to assassinate the president. What joins the space between the two lines? What makes the meeting inevitable? There is a third line. It comes out of dreams, visions, intuitions, prayers, the deep strata of personality. It is not generated by cause and effect like the other two. It is a line that intersects chance, crosses time. It has no history that we can recognize or understand. But it imposes a conjunction. It puts a man on the road to his destiny».