Richard Drew pressed the camera’s shutter button at 9:41 am on the morning of September 11, 2001, capturing an image of man leaping to his death that is horrific, elegiac, and poetic. This iconic photograph — “The Falling Man” — depicted one of more than 200 innocent people who jumped to their deaths that morning. It was printed on page 7 of the New York Times on the following day, etched forever in the American consciousness as a reminder of that dreadful day. Equally powerful was the thought-provoking story that writer Tom Junod wrote about the identity of that lone figure in the September 2003 issue of Esquire magazine, titled “The Falling Man.” When you read the introduction to the story, it is easy to understand why the editors of Esquire consider it one of the greatest stories in the magazine’s 75-year history.
“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. His arms are by his side, only slightly outriggered. His left leg is bent at the knee, almost casually. His white shirt, or jacket, or frock, is billowing free of his black pants. His black high-tops are still on his feet… The man in the picture… is perfectly vertical, and so is in accord with the lines of the buildings behind him. He splits them, bisects them: Everything to the left of him in the picture is the North Tower; everything to the right, the South. Though oblivious to the geometric balance he has achieved, he is the essential element in the creation of a new flag, a banner composed entirely of steel bars shining in the sun. 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… 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.”
Almost 20 years later, reflecting on that photo, Richard Drew states: “I never regretted taking that photograph at all. It’s probably one of the only photographs that shows someone dying that day. We have a terrorist attack on our soil and we still don’t see pictures of our people dying — and this is a photograph of someone dying. “
The Falling Man’s true identity has never been established. The photos reveal that he was dark-skinned, lanky, wore a goatee, dressed in black pants, and a bright-orange shirt under a white shirt. Some believe it was Jonathan Briley, an employee at the Windows on the World restaurant. Miraculously, the FBI found his body the next day. Juno concludes his article:
“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.
Yes, Jonathan Briley might be the Falling Man. But the only certainty we have is the certainty we had at the start: At fifteen seconds after 9:41 a.m., on September 11, 2001, a photographer named Richard Drew took a picture of a man falling through the sky—falling through time as well as through space. The picture went all around the world, and then disappeared, as if we willed it away. One of the most famous photographs in human history became an unmarked grave, and the man buried inside its frame—the Falling Man—became the Unknown Soldier in a war whose end we have not yet seen. Richard Drew’s photograph is all we know of him, and yet all we know of him becomes a measure of what we know of ourselves. The picture is his cenotaph, and like the monuments dedicated to the memory of unknown soldiers everywhere, it asks that we look at it, and make one simple acknowledgment.
That we have known who the Falling Man is all along.”
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