THE FALLING MAN ...an unforgettable story...

Θυμάσαι αυτή τη φωτογραφία; 
Στις Ηνωμένες Πολιτείες,της 11ης Σεπτεμβρίου 2001. 
Η ιστορία πίσω από αυτό, όμως, και 
η αναζήτηση για τον άνδρα που 
απεικονίζεται σε αυτό, είναι η πιο 
στενή σχέση μας με τη φρίκη εκείνης 
της ημέρας...
In n 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. 
In all the other pictures, the people who did what he did—who jumped—
appear to be struggling against horrific discrepancies of scale. 
They are made puny by the backdrop of the towers, which loom like colossi, 
and then by the event itself. Some of them are shirtless; 
their shoes fly off as they flail and fall; they look confused, as though trying 
to swim down the side of a mountain. 
The man in the picture, by contrast, 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, 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.
[...] http://www.esquire.com/news-politics/a