“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.
(…)
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.
The next morning, the image appeared on page seven of The New York Times. It appeared in hundreds of newspapers, all over the country, all over the world. The man inside the frame—the Falling Man—was not identified.
(…)
And it was, at last, the sight of the jumpers that provided the corrective to those who insisted on saying that what they were witnessing was "like a movie," for this was an ending as unimaginable as it was unbearable: Americans responding to the worst terrorist attack in the history of the world with acts of heroism, with acts of sacrifice, with acts of generosity, with acts of martyrdom, and, by terrible necessity, with one prolonged act of—if these words can be applied to mass murder—mass suicide.”
The article, from the current Esquire Magazine is the story of the photograph, and of the photographer, of a reporter, and all of "the jumpers", not just the one in the photo. Do take the time to read it all. You will not be sorry.
(…)
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.
The next morning, the image appeared on page seven of The New York Times. It appeared in hundreds of newspapers, all over the country, all over the world. The man inside the frame—the Falling Man—was not identified.
(…)
And it was, at last, the sight of the jumpers that provided the corrective to those who insisted on saying that what they were witnessing was "like a movie," for this was an ending as unimaginable as it was unbearable: Americans responding to the worst terrorist attack in the history of the world with acts of heroism, with acts of sacrifice, with acts of generosity, with acts of martyrdom, and, by terrible necessity, with one prolonged act of—if these words can be applied to mass murder—mass suicide.”
The article, from the current Esquire Magazine is the story of the photograph, and of the photographer, of a reporter, and all of "the jumpers", not just the one in the photo. Do take the time to read it all. You will not be sorry.
The Falling Man’s misterious identity finally revealed here.
Other sources here.
Led
Sem comentários:
Enviar um comentário