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Who Was the Falling Man from 9/11?
Catherine Hernandez thought she knew who the Falling Man was as soon as she saw the series of pictures, but she wouldn't say his name. "He had a sister who was with him that morning," she said, "and he told his mother that he would take care of her. He would never have left her alone by jumping." She did say, however, that the man was Indian, so it was easy to figure out that his name was Sean Singh. But Sean was too small to be the Falling Man. He was clean-shaven. He worked at Windows on the World in the audiovisual department, so he probably would have been wearing a shirt and tie instead of a white chef's coat. None of the former Windows employees who were interviewed believe the Falling Man looks anything like Sean Singh.

Besides, he had a sister. He never would have left her alone.
9/11  culture  unitedstates  editorial  history  photography 
5 weeks ago by aleksandrxyz
Who Was the Falling Man from 9/11? - Falling Man Identity Revealed
The photographer is no stranger to history; he knows it is something that happens later. In the actual moment history is made, it is usually made in terror and confusion, and so it is up to people like him—paid witnesses—to have the presence of mind to attend to its manufacture.
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.
From the beginning, the spectacle of doomed people jumping from the upper floors of the World Trade Center resisted redemption. They were called "jumpers" or "the jumpers," as though they represented a new lemminglike class. The trial that hundreds endured in the building and then in the air became its own kind of trial for the thousands watching them from the ground. 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.
In the most photographed and videotaped day in the history of the world, the images of people jumping were the only images that became, by consensus, taboo—the only images from which Americans were proud to avert their eyes...In a nation of voyeurs, the desire to face the most disturbing aspects of our most disturbing day was somehow ascribed to voyeurism, as though the jumpers' experience, instead of being central to the horror, was tangential to it, a sideshow best forgotten.
Now, as he worked on his sculpture, he sought to express the extremity of his feelings by making a monument to what he calls the "extremity of choice" faced by the people who jumped. He worked nine months on the larger-than-life bronze he called Tumbling Woman, and as he transformed a woman tumbling on the floor into a woman tumbling through eternity, he succeeded in transfiguring the very local horror of the jumpers into something universal—in redeeming an image many regarded as irredeemable. Indeed, Tumbling Woman was perhaps the redemptive image of 9/11—and yet it was not merely resisted; it was rejected.
Photographs lie. Even great photographs. Especially great photographs. The Falling Man in Richard Drew's picture fell in the manner suggested by the photograph for only a fraction of a second, and then kept falling. The photograph functioned as a study of doomed verticality, a fantasia of straight lines, with a human being slivered at the center, like a spike. In truth, however, the Falling Man fell with neither the precision of an arrow nor the grace of an Olympic diver. He fell like everyone else, like all the other jumpers—trying to hold on to the life he was leaving, which is to say that he fell desperately, inelegantly. In Drew's famous photograph, his humanity is in accord with the lines of the buildings. In the rest of the sequence—the eleven outtakes—his humanity stands apart. He is not augmented by aesthetics; he is merely human, and his humanity, startled and in some cases horizontal, obliterates everything else in the frame.
"The thing I hold was that both of my sons were together," she says, her instantaneous tears lifting her voice an octave. "But I sometimes wonder how long they knew. They're puzzled, they're uncertain, they're scared—but when did they know? When did the moment come when they lost hope? Maybe it came so quick…."...The Hernandezes looked at the decision to jump as a betrayal of love—as something Norberto was being accused of. The woman in Connecticut looks at the decision to jump as a loss of hope—as an absence that we, the living, now have to live with. She chooses to live with it by looking, by seeing, by trying to know—by making an act of private witness. She could have chosen to keep her eyes closed. And so now the man on the phone asks the question that he called to ask in the first place: Did she make the right choice?
Is Jonathan Briley the Falling Man? He might be. But maybe he didn't jump from the window as a betrayal of love or because he lost hope. Maybe he jumped to fulfill the terms of a miracle. Maybe he jumped to come home to his family. Maybe he didn't jump at all, because no one can jump into the arms of God.

Oh, no. You have to fall.
9/11  journalism  redemption 
5 weeks ago by jbertsche
“The Real Lesson of September 11”
Joe Quinn, a United States Army veteran, writes about “The Real Lesson of September 11.”
5 weeks ago by M.Leddy

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