He was waiting in line at the cinema, lost inside himself. Then a young man’s voice started up behind his right ear, disgracefully loud, not caring who listened, telling its story to a companion but also to the whole line, to the city; as if the city cared. To Eve in Metropolis was to know that the exceptional was as commonplace as diet soda, that abnormality was the popcorn norm: “So finally I called her, and I’m like, hi, Mom, wassup, and she goes, You wanna know who’s sitting down to dinner here in Nowheresville, who’s right here eating your mother’s meatloaf, we’ve got Santa Claus, that’s all. Santa Claus sitting right there at the head of the table where your snake skunk weasel father used to set his motherfuckin’ dumb-fuck ass. I swear to God. I mean it’s three P.m. and she’s already losing it. That’s what she said, word for fuckin’ word. Santa Claus. And I go, Sure, Mom, and where’s Jesus at. And she comes back with, That’s Mister Jesus Christ to you, young man, and I’ll have you know that Mister Jesus H. Christ is takin’ care of the fish course. So, that was all I could handle, so I’m like, So long, Mom, give the gentlemen my best, have a happy.” And alongside the male voice there was a woman’s hard, horrified laughter. HA-ha-ha-HA.

At this point in a Woody Allen movie (a part of Husbands and Wives had actually been filmed in Solanka’s rented apartment) the cinemagoers would have joined in the conversation, taking sides, offering personal anecdotes to rival or surpass the one they had just heard, and finding precedents for the monologue of the angry, crazy mother in late Bergman, in Ozu, in Sirk. In a Woody Allen movie Noam Chomsky or Marshall McLuhan, or maybe nowadays it would be Gurumayi or Deepak Chopra, would have stepped out from behind a potted palm and offered a few words of unctuous, polished commentary. The mother’s plight would briefly be the subject of an agonized Woody meditation—was she delusional all day or only at mealtimes? What medication was she on and were its side effects properly labeled on the bottle? What did it mean that she was possibly planning to fool around with not one but two major icons? What would Freud say about this unusual sex triangle? What did this woman’s equal need for gift-wrapped possessions and the salvation of her immortal soul tell us about her? What did it tell us about America?

Also, if those were real men in the room with her, who were they? Maybe killers on the run, holing up in this poor bourbon-soaked lady’s kitchen? Was she actually in danger? Alternatively, as open-minded thinkers, should we not allow the possibility, at least theoretically, of a genuine double miracle having occurred? In which case, what kind of Christmas present would Jesus ask Santa for? And, okay, so the Son of God was in charge of the tuna, but would there be enough meatloaf to go around?

To all of this Mariel Hemingway would pay careful but vapid attention; then, equally swiftly, it would be forgotten forever. In a Woody Allen movie the scene would have been shot in black-and-white, that most unreal of processes, which had come to stand for realism, integrity, and art. But the world is in color and is less well scripted than the movies. Malik Solanka turned around sharply, opened his mouth to remonstrate, and found himself looking at Mila and her quarterback centurion of a boyfriend. By thinking of her he had conjured them up. And behind them stood-leaned, hunched, squatted, posed—the rest of the indolent stoop troop.

They looked gorgeous, Solanka conceded; their daytime Hilfiger uniform had been sloughed off to reveal a very different, preppier style based on Calvin’s classic white-and-tan summerwear, and they all wore shades in spite of the hour. There was a commercial playing in the multiplexes in which a group of fashionable vampires—thanks to Buffy on TV, vampires were hot—sat on a dune in their Ray-Bans and waited for the dawn. The one who had forgotten his shades was fried when the sun’s rays hit him and his comrades laughed as he exploded, baring their fangs. HA-ha-ha-HA. Perhaps, thought Professor Solanka, Mila & Co. were vampires and he was the fool without the protection. Except, of course, that that would mean he was a vampire, too, a refugee from death, able to defy the laws of time… Mila removed her sunglasses and looked him provocatively in the eye, and at once he remembered who it was that she resembled.

“What do you know, it’s Mr. Garbo, who vants to be alone,” the peroxide centurion was saying, nastily, indicating that he was ready for all the trouble creaky old Professor Solanka cared to put his way. But Malik was trapped by Mila’s gaze. “Oh, my,” he said. “Oh, my, excuse me, it’s Little Brain. Excuse me, but it’s my doll.” The giant centurion found this to be an opaque, and therefore objectionable utterance, and indeed, in Solanka’s manner there was something more than surprise; something bilious, almost hostile, something that might have been disgust. “Take it easy, Greta,” the big young man said, putting the palm of an enormous hand against Solanka’s chest and applying an impressive amount of pressure; Solanka staggered backward and hit a wall.

But the young woman called off her attack dog. “It’s okay, Ed. Eddie, really, it’s fine.” Just then, mercifully, the line began to move rapidly. Malik Solanka rushed forward into the auditorium and sat down at some distance from the vampire group. As the lights went down he saw those piercing green eyes looking intently at him across the art-house crowd.

4

He stayed out all night, but there was no peace to be found, even when walking through the dead of night, much less in the already bustling hour after the dawn. There was no dead of night. He could not remember his exact route, had the impression of having gone across town and back on or around Broadway, but he could remember the sheer volume of the white and colored noise. He could remember the noise dancing in abstract shapes before his red-rimmed eyes. The coat of his linen suit weighed heavily, damply, on his shoulders, yet in the name of rectitude, of how things should be done, he kept it on; also his straw Panama hat. The noise of the city increased almost daily, or perhaps it was his sensitivity to that noise which was being turned up to the screaming point. Garbage trucks like giant cockroaches moved through the city, roaring. He was never out of earshot of a siren, an alarm, a large vehicle’s reverse-gear bleeps, the beat of some unbearable music.

The hours went by. Kieslowski’s characters stayed with him. What were the roots of our actions? Two brothers, estranged from each other and from their dead father, were almost deranged by the power of his priceless stamp collection. A man was told he was impotent and found he could not bear the idea of his loving wife having a sexual future without him. Mysteries drive us all. We only glimpse their veiled faces, but their power pushes us onward, toward darkness. Or into the light.

As he turned into his street, even the buildings began to speak to him in the sonorous manner of the supremely confident, of the rulers of the world. The School of the Blessed Sacrament did its proselytizing in Latin carved in stone. PARENTES CATHOLICOS HORTAMUR UT DILECTAE PROM SUAE EDUCATIONEM CHRISTIANAM ET CATHOLICAM PROCURANT. The sentiment struck no responsive chord in Solanka. Next door, a more fortune-cookie-ish sentiment inscribed in gilded letters rang out from a mighty DeMille-Assyrian entrance. IF FRATERNAL LOVE HELD ALL MEN BOUND HOW BEAUTIFUL THE WORLD WOULD BE. Three quarters of a century ago this edifice, garishly handsome in the city’s brashest manner, had been dedicated, on the cornerstone, “to Pythianism,” without any embarrassment at the clash of Greek and Mesopotamian metaphors. Such plundering and jumbling of the storehouse of yesterday’s empires, this melting pot or metissage of past power, was the true indicator of present might.