Underworld (Don Delillo, 1998, closing pages) 

Keystroke 1 

She sleeps on the roof when it’s not too cold and this is where he sees her, on the roof of a boarded four-story building with fire escape intact. He’s up there wandering, thinking his thoughts, a man who drifts in and out of the Wall, a sidler type, doesn’t like to be looked at, and when you enter a name-search the screen reads Searching. He comes across the sleeping girl and feels a familiar anger rising and knows he will need to do something to make her pay He’s on her like that. She tries to fight but does not cry out. He beats her with the end of his fist, sending ham-merblows to the head. Struggle bitch get hit. He wants to turn her over on her face and put it up inside her. She fights and whisper-cries in a voice that makes him angrier, like who the fuck she think she is, and the screen reads Searching. Either way he’s gonna hit her, she struggle or not, and he looks away when he does it, sidle-type. No eye contact, cunt. Last woman he looked at was his mother. After he does it, driving it in and spilling it out, he hits her one last time, hard, whore, and drags her up on the ledge and leans her over and lets her go. You dead, bitch. Then he goes back to thinking his nighttime thoughts. Screen reads Searching.

Then the stories begin, word passing block to block, moving through churches and superettes, maybe garbled slightly, mistranslated here and there, but not deeply distorted–it is clear enough that people are talking about the same uncanny occurrence. And some of them go and look and tell others, stirring the hope that grows when things surpass their limits. They gather after dusk at a windy place between bridge approaches, seven or eight people drawn by the word of one or two, then thirty people drawn by the seven, then a tight silent crowd that grows bigger but no less respectful, two hundred people wedged onto a traffic island in the bottommost Bronx where the expressway arches down from the terminal market and the train yards stretch toward the narrows, all that old industrial muscle with its fretful desolation–the ramps that shoot tall weeds and the waste burner coughing toxic fumes and the old railroad bridge spanning the Harlem River, an openwork tower at either end, maybe swaying slightly in persistent wind. They come and park their cars if they have cars, six or seven to a car, parking tilted on a high shoulder or in the factory side streets, and they wedge themselves onto the concrete island between the expressway and the pocked boulevard, feeling the wind come chilling in and gazing above the wash of standard rip-roar traffic to a billboard floating in the gloom–an advertising sign scaffolded high above the river-bank and meant to attract the doped-over glances of commuters on the trains that run incessantly down from the northern suburbs into the thick of Manhattan money and glut.
Edgar sits across from Gracie in the refectory She eats her food without tasting it because she decided years ago that taste is not the point. The point is to clean the plate.

Grade says, “No, please, you can’t.” “Just to see.”
“No, no, no, no.”
“I want to see for myself.”
“This is tabloid. This is the worst kind of tabloid superstition. It’s horrible. A complete, what is it? A complete abdication, you know? Be sensible. Don’t abdicate your good sense.”
“It could be her they’re seeing.”
“You know what this is? It’s the nightly news. It’s the local news at eleven with all the grotesque items neatly spaced to keep you watching the whole half hour.”
“I think I have to go,” Edgar says.
“This is something for poor people to confront and judge and understand and we have to see it in that framework. The poor need visions, okay?”
“I believe you are patronizing the people you love,” Edgar says softly.
“That’s not fair.”
“You say the poor. But who else would saints appear to? Do saints and angels appear to bank presidents? Eat
your carrots.”
“It’s the nightly news. It’s gross exploitation of a child’s horrible murder.”
“But who is exploiting? No one’s exploiting,” Edgar says. “People go there to weep, to believe.”
“It’s how the news becomes so powerful it doesn’t need TV or newspapers. It exists in people’s perceptions.
It’s something they invent, strong enough to seem real. It’s the news without the media.”
Edgar eats her bread.
“I’m older than the Pope. I never thought I would live long enough to be older than a pope and I think I need
to see this thing.”
“Pictures lie,” Grade says.
“I think I need to be there.”
“Don’t pray to pictures, pray to saints.”
“I think I need to go.”
“But you can’t. It’s crazy. Don’t go, Sister.”
But Edgar goes. She puts on her latex gloves and winter cape and heads for the door, planning to take the bus
and subway, and Gracie can’t let her go alone. She rushes out to the van, wearing her retainer for spacy teeth, a thing she never wears in public, and they drive down past the Wall and into dark and empty streets and the van stalls out, doing a murmurous swoon, and they walk the last eleven blocks with Gracie carrying Mace and a cellular phone.
A madder orange moon hangs over the city.
People in the glare of passing cars, hundreds clustered on the island, their own cars parked cockeyed and biaswise, dangerously near the speeding traffic. The nuns dash across the boulevard and squeeze onto the island and people make room for them, pressed bodies part to let them stand at ease.
They follow the crowd’s stoked gaze. They stand and look. The billboard is unevenly lighted, dim in spots, several bulbs blown and unre-placed, but the central elements are clear, a vast cascade of orange juice pouring diagonally from top right into a goblet that is handheld at lower left–the perfectly formed hand of a female Caucasian of the middle suburbs. Distant willows and a vaguish lake view set the social locus. But it is the juice that commands the eye, thick and pulpy with a ruddled flush that matches the madder moon. And the first detailed drops splashing at the bottom of the goblet with a scatter of spindrift, each fleck embellished with the finicky rigor of some precisionist painting. What a lavishment of effort and technique, no refinement spared–the equivalent, Edgar thinks, of medieval church architecture. And the six-ounce cans of Minute Maid arrayed across the bottom of the board, a hundred identical cans so familiar in design and color and typeface that they have personality, the convivial cuteness of little orange-and-black people.
Edgar doesn’t know how long they’re supposed to wait or exactly what is supposed to happen. Produce trucks pass in the rumbling dusk. She lets her eyes wander to the crowd. Working people, shopkeepers, maybe some drifters and squatters but not many, and then she notices a group near the front, fitted snug to the prowed shape of the island–they’re the charismatics from the top floor of the tenement in the Wall, dressed mainly in floppy white, tublike women, reedy men in dreadlocks. The crowd is patient, she is not, finding herself taut with misgiving, absorbing Grade’s take on the whole business. Planes drop out of the darkness toward the airport across the water, splitting the air with throttled booms. The nuns see Ismael Murioz standing thirty yards away, surrounded by his crew–Ismael looking a little ghostly in the beams of swinging light–and Edgar presses a knowing look on Gracie. They stand and watch the billboard. They stare stupidly at the juice. After twenty minutes there is a rustle, a sort of perceptual wind, and people look north, children point north, and Edgar strains to catch what they are seeing.
The train.
She feels the words before she sees the object. She feels the words although no one has spoken them. This is how a crowd brings things to single consciousness. Then she sees it, an ordinary commuter train, silver and blue, ungraffitf d, moving smoothly toward the drawbridge. The headlights sweep the billboard and she hears a sound from the crowd, a gasp that shoots into sobs and moans and the cry of some unnameable painful elation. A blurted sort of whoop, the holler of unstoppered belief. Because when the train lights hit the dimmest part of the billboard a face appears above the misty lake and it belongs to the murdered girl. A dozen women clutch their heads, they whoop and sob, a spirit, a godsbreath passing through the crowd.
Esmeralda.
Esmeralda.
Sister is in body shock. She has seen it but so fleetingly, too fast to absorb–she wants the girl to reappear.
Women holding babies up to the sign, to the flowing juice, let it bathe them in baptismal balsam and oil. And Gracie talking into Edgar’s face, into the jangle of voices and noise.
“Did it look like her?”
“Yes.”
“Are you sure?”
“I think so,” Edgar says.
“But you Ve never seen her up close. I’ve seen her up close,” Gracie says, “and I think it was just a trick of
light. Not a person at all. Not a face but a stab of light.”
When Gracie wears her retainer she speaks with a kind of fizzy lisp.
“It’s just the undersheet,” she says. ‘A technical flaw that causes the image underneath, the image from the
papered-over ad to show through the current ad.”
Is she right?
“When sufficient light shines on the current ad, it causes the image beneath to show through,” she says. Sibilants echo wetly off Grade’s teeth.
But is she right? Has the news shed its dependence on the agencies that report it? Is the news inventing itself
on the eyeballs of walking talking people?
Edgar studies the billboard. What if there is no papered-over ad? Why should there be an ad under the orange
juice ad? Surely they remove one ad before installing another.
Gracie says, “What now?”
They stand and wait. They wait only eight or nine minutes this time before another train approaches. Edgar
moves, she tries to edge and gently elbow forward, and people make way, they see her–a nun in a veil and full habit and dark cape followed by a sheepish helpmeet in a rummage coat and headscarf, holding aloft a portable phone.
They see her and embrace her and she lets them. Her presence is a verifying force–a figure from a universal church with sacraments and secret bank accounts and a fabulous art collection. All this and she elects to follow a course of poverty, chastity and obedience. They embrace her and let her pass and she is among the charismatic band, the gospellers rocking in place, when the train lamps swing their beams onto the billboard. She sees Esmeralda’s face take shape under the rainbow of bounteous juice and above the little suburban lake and there is a sense of someone living in the image, an animating spirit–less than a tender second of life, less than half a second and the spot is dark again.
She feels something break upon her. An angelus of clearest joy. She embraces Sister Grace. She yanks off her gloves and shakes hands, pumps hands with the great-bodied women who roll their eyes to heaven. The women do great two-handed pump shakes, fabricated words jumping out of their mouths, trance
utterance–they’re singing of things outside the known deliriums. Edgar thumps a man’s chest with her fists. She finds Ismael and embraces him. She looks into his face and breathes the air he breathes and enfolds him in her laundered cloth. Everything feels near at hand, breaking upon her, sadness and loss and glory and an old mother’s bleak pity and a force at some deep level of lament that makes her feel inseparable from the shakers and mourners, the awestruck who stand in tidal traffic–she is nameless for a moment, lost to the details of personal history, a disembodied fact in liquid form, pouring into the crowd.
Gracie says, “I don’t know.”
“Of course you know. You know. You saw her.”
“I don’t know. It was a shadow.”
“Esmeralda on the lake.”
“I don’t know what I saw.”
“You know. Of course you know. You saw her.”
They wait for two more trains. Landing lights appear in the sky and the planes keep dropping toward the
runway across the water, another flight every minute and a half, the backwashed roars overlapping so everything is seamless noise and the air has a stink of smoky fuel.
They wait for one more train.
How do things end, finally, things such as this–peter out to some forgotten core of weary faithful huddled in the rain?
The next night a thousand people fill the area. They park their cars on the boulevard and try to butt and pry their way onto the traffic island but most of them have to stand in the slow lane of the expressway, skittish and watchful. A woman is struck by a motorcycle, sent swirling into the asphalt. A boy is dragged a hundred yards, it is always a hundred yards, by a car that keeps on going. Vendors move along the lines of stalled traffic selling flowers, soft drinks and live kittens. They sell laminated images of Esmeralda printed on prayer cards. They sell pinwheels that never stop spinning.
The night after that the mother shows up, Esmeralda’s lost junkie mother, and she collapses with flung arms when the girl’s face appears on the billboard. They take her away in an ambulance that is followed by a number of TV trucks. Two men fight with tire irons, blocking traffie on a ramp. Helicopter cameras record the scene and the police trail orange caution tape through the area–the very orange of the living juice.
The next evening the sign is blank. What a hole it makes in space. People come and don’t know what to say or think, where to look or what to believe. The sign is a white sheet with two lonely words, Space Available, followed by a phone number in tasteful type.
When the first train comes, at dusk, the lights show nothing.
And what do you remember, finally, when everyone has gone home and the streets are empty of devotion and hope, swept by river wind? Is the memory thin and bitter and does it shame you with its fundamental untruth–all nuance and wishful silhouette? Or does the power of transcendence linger, the sense of an event that violates natural forces, something holy that throbs on the hot horizon, the vision you crave because you need a sign to stand against your doubt?
Edgar feels the pain in her joints, the old body deep in routine pain, pain at the points of articulation, prods of sharp sensation in the links between bones.
But she holds the image tight in her mind, the fleeting face on the lighted board, her virgin twin who is also her daughter. And she recalls the smell of jet fuel. This is the incense of her experience, the burnt cedar and gum, a retaining medium that keeps the moment whole, all the moments, the swaying soulclap raptures and the unspoken closeness, a fellowship of deep belief.
There is nothing left to do but die and this is precisely what she does, Sister Alma Edgar, bride of Christ, passing peacefully in her sleep, the first faint snow of another dim winter falling softly on the unknown streets, flurries, crystals, shaped flakes, a pale slant snow disappearing as it falls.