Falling Man

I’ve been thinking a lot about the concept of framing as I’ve been reading Falling Man. One scene that stands out the most in my mind is when Lianne confronts Elena about her music. This is not only a verbal confrontation, but also a physical one. Lianne’s anger and prejudices build up throughout the book, but can be especially seen through her reactions to Elena’s music. Even though she does not know the exact origins of the music she concludes that they are of an “Islamic tradition” (DeLillo 67). I questioned Lianne’s knowledge of Middle Eastern cultures because it sounded like she was merely putting Elena and her music into a box. Not to mention, she talks about those who follow the Islamic tradition as “them” and says that “they” are all alike in their prayers (DeLillo 68). One of the most crucial parts of framing is diminishing individuality, which Lianne does here. She not only stereotypes the “different” music but she then makes assumptions about Elena and her (perhaps) “people.” Lianne has an air of superiority around her assumptions and “knowledge” of people of different racial and ethnic backgrounds. Though we don’t know Lianne’s entire life story, one can speculate that 9/11 further provoked Lianne’s need to frame specific people.

Lianne’s thoughts become more superior when she brings privilege and class into the picture. On page 68 she reflects that Elena and whomever she lives with doesn’t own, but they rent their apartment like “people in the Middle ages” (DeLillo 68). What if Elena is barely making rent? What is Elena and her family can’t get sufficient jobs based on their appearances, beliefs, or race? There is little we find out about Elena in this section of the book and we certainly know that Lianne knows nothing about her, other than what she has framed her as. By making this comment, Lianne’s lack of empathy turns into harsh criticism. She is saying that “they” don’t own their place like she does because she is privileged and is in an efficient financial position.

Framing can take also take a physical form. When Lianne goes to Elena’s apartment she describes her appearance. Elena is literally framed by her doorway in her “tailored jeans and sequined T-shirt” (DeLillo 119). Even her dog is framed at a certain point in the archway. Marko, Elena’s dog, is said quickly described my Lianne as “a hundred and thirty pounds, black, with deep fur and webbed feet” (DeLillo 119). I really like how Elena and Lianne are standing in two different dimensions: one in the hallway and the other in between their abode and hallway. I think it shows the separation between American and “other” cultures, white and people of color, Lianne and Elena. Lianne even uses “we” as if she and the other residents have agreed the music was too loud. I saw this as self-affirmation that she was right and it makes Lianne’s argument sound more legitimate.

Lastly, I want to focus on acceptable or appropriate post-9/11 behavior. Did any of you think it was offensive that Elena was playing her music after 9/11? Do you think she was purposefully trying to aggravate people? Elena says the music gives her “peace” and the neighbors haven’t approached her about its loudness (DeLillo 119). Do you think Elena is entitled to listen to something that calms her after 9/11? What does this show about Lianne? Lianne’s repetition of the word “circumstances” is something that Elena does not agree with. I think this can be read a number of different ways but I think Elena isn’t “ultrasensitive” in the way Lianne is about 9/11 (DeLillo 120). I think that there is a possibility that Elena can be framed in this scene as apathetic or separated from the entire event, as if she’s an enemy or doing wrong. It is not just the music that drives Lianne’s anger; it’s merely a catalyst.