Don DeLillo - Underworld

And he went down the slate stairway that crumbled to the pressure of his weight, his hand on the rusty pipe that was the banister, and he felt the mood of the tunnel on a given day. It might be a coke mood one day, Ismael did not do drugs, or a mood of speed that's traveling through the tunnel, someone made a buy and shared it, or a mood of mental illness, which was often the case. And always a brown rat mood because they were there in pack rat numbers, an endless source of stories, the size of the rats, the attitude of unfearing, how they ate the bodies of those who died in the tunnels, how they were eaten in turn by the rat man who lived in level six under Grand Central, he killed and cooked and ate a rat a week-track rabbits, they were called.

In other words to muralize a whole train you need a full night and part of the next night and no shuffling bullshit talk.

And a mood of who you are in your head day by day, which he did not share with anyone at street level, and going to sleep in a cousin's bed at night or in the supply cellar of some bodega where they knew Ismael Munoz and gave him a place that was adequate and hearing the doors go ding dong and seeing the man from Stockholm, Sweden, who took pictures of his piece.

He liked to watch the eyes of platform people to see how they reacted to his work.

His letters and numbers told a story of tenement life, good and bad but mostly good. The verticals in the letter N could be drug dealers guarding a long diagonal stash of glassine product or they could be schoolgirls on a playground slide or a couple of sandlot ballplayers with a bat angled between them.

Nobody could take him down. He kinged every artist in town.

They had dozens of cans out and ready, all by prearrangement, and he called a color and they shook the can and the ball went click.

"Where's my Perrier?" he said.

But you have to stand on a platform and see it coming or you can't know the feeling a writer gets, how the number 5 train comes roaring down the rat alleys and slams out of the tunnel, going whop-pop onto the high tracks, and suddenly there it is, Moonman riding the sky in the heart of the Bronx, over the whole burnt and rusted country, and this is the art of the backstreets talking, all the way from Bird, and you can't not see us anymore, you can't not know who we are, we got total notoriety now, Momzo Tops and Rimester and me, we're getting fame, we ain't ashame, and the train go rattling over the garbagy streets and past the dead-eye windows of all those empty tenements that have people living there even if you don't see them, but you have to see our tags and cartoon figures and bright and rhyming poems, this is the art that can't stand still, it climbs across your eyeballs night and day, the flickery jumping art of the slums and dumpsters, flashing those colors in your face-like I'm your movie, motherfucker.

They came funneling out of the lobby and moved down the aisles and found their seats, the anticipation of early evening largely depleted by now, and they settled in quickly, all business, and the second half of the film began.

Klara looked around for Miles. But Miles didn't show. He'd evidently sensed the impatience of his guests and decided to stay with the cineastes in the private booth upstairs.

"Does this mean we're unworthy?" Esther said.

It seems you are witnessing an escape. Figures moving upward through gouged tunnels into a dark rainy night. A long scene of silhouettes and occasional tight shots, eyes peering in the dark.

Then a spotlight swung across the orchestra pit and came to rest on a side curtain on the north wall, set slightly higher than the stage and some yards distant. And you knew what you were going to see half a second before you saw it and what a mood-booster, absolutely. The curtains parted and the horseshoe console of New fork's last great theater organ, the mighty Wurlitzer, stood framed and gleaming in the dark hall.

The organist was a slightish man, white-haired, who seemed to hover in the alcove, his back to the audience, wizardly in his very smallness, and he hit the thunder pedal just as a figure on the screen drew back cowering from some danger above, and laughter swept the auditorium.

The prisoners continued their climb, moving in grim proximity to each other.

The organist hit a series of notes that had an uncanny familiarity. The sort of thing that takes you hauntingly back to your bedside radio and the smells in your kitchen and the way the linoleum used to ripple near the icebox. It was a march, sprightly is the word, and it worked in ironic counterpoint to the foreground silhouettes on the screen, figures climbing in rote compliance, and Klara felt the music in her skin and could practically taste it on her tongue but wasn't able to name the piece or identify the composer.

She gave old Jack a poke in the arm.

"What's he playing?"

"Prokofiev."

"Prokofiev. Of course. Prokofiev did scores for Eisenstein. I knew that. But what's this march?"

"It's that Three Oranges thing, whatever it's called. You've heard it a thousand times."

"Of course, yes. But why have I heard it a thousand times?"

"Because it was the theme music on an old radio show. Brought to you by Lava soap. Remember Lava soap?"

"Yes, yes, of course."

And Jack chanted in sacramental sync with the organ.

"El-lay-vee-ay. El-lay-vee-ay."

"Of course, yes. It's completely clear to me now. But I don't remember the program," she said.

And Jack kept chanting because he was having such a good time with this, and so was the audience, eyes shifting from the screen to the console and minds locked in radio recall, those of you who were old enough, and somewhere backstage, in a dozen lofts, the enormous organ pipes sounded the tones-pipes, wind chests, shutters and blowers bringing this vintage theme, borrowed from a Russian opera, back home to the past.

And Jack left off his chanting to adopt the bardic voice of a veteran announcer doing the show's opening.

" 'The FBI in Peace and War,' " he spoke ringingly

It was nice to have friends. Klara remembered now. Neighbor kids used to listen to the show, faithfully, toward the end of the war, and she could almost hear the voice of the actor who played the FBI field agent.

The curtain closed on the organist just as the sun came out and Esther said, "Finally."

Yes, the film has climbed to the surface, to a landscape shocked by light, pervasive and overexposed. The escaped prisoners move across flat terrain, some of them hooded, the most disfigured ones, and there are fires in the distance, the horizon line throbbing in smoke and ash.

You wonder if he shot these scenes in Mexico, or could it be Kazakhstan, where he went to shoot Ivan the Terrible , later, during the war?

Many long shots, sky and plain, intercut with foreground figures, their heads and torsos crowding out the landscape, precisely the kind of formalist excess that got the director in trouble with the apparat.

The orchestra was in its covert mode, somewhere under the pit, playing faintly at first, a soft accent edged against the strong visuals.

You study the faces of the victims as they take off their hoods. A cyclops. A man with skewed jaw A lizard man. A woman with a flap of skin for a nose and mouth.

A series of eloquent largo passages begins to fill the hall.

The audience was stilled. You saw things differently now. If there was a politics of montage, it was more intimate here-not the themes of atomic radiation or irresponsible science and not state terror either, the independent artist who is disciplined and sovietized.

These deformed faces, these were people who existed outside nationality and strict historical context. Eisenstein's method of immediate characterization, called typage, seemed self-parodied and shattered here, intentionally. Because the external features of the men and women did not tell you anything about class or social mission. They were people persecuted and altered, this was their typology- they were an inconvenient secret of the society around them.