More streets emanating out from Mott like a handful of crooked, rheumatic fingers, then suddenly the Bowery again, cowering beneath elevated trains, where men, burned down to the butt end of soiled lives, pass in and out and out and in of the knee-high swinging doors--a veiny-nosed, acid-eaten race in themselves. Allen Street, too, still more easterly and half as wide, is straddled its entire width by the steely, long-legged skeleton of elevated traffic, so that its third-floor windows no sooner shudder into silence from the rushing shock of one train than they are shaken into chatter by the passage of another. Indeed, third-floor dwellers of Allen Street, reaching out, can almost touch the serrated edges of the elevated structure, and in summer the smell of its hot rails becomes an actual taste in the mouth. Passengers, in turn, look in upon this horizontal of life as they whiz by. Once, in fact, the blurry figure of what might have been a woman leaned out as she passed to toss into one Abrahm Kantor's apartment a short-stemmed pink carnation. It hit softly on little Leon Kantor's crib, brushing him fragrantly across the mouth and causing him to pucker up. Beneath, where, even in August noonday, the sun cannot find its way by a chink, and babies lie stark naked in the cavernous shade, Allen Street presents a sort of submarine and greenish gloom, as if its humanity were actually moving through a sea of aqueous shadows, faces rather bleached and shrunk from sunlessness as water can bleach and shrink. And then, like a shimmering background of orange-finned and copper-flanked marine life, the brass shops of Allen Street, whole rows of them, burn flamelessly and without benefit of fuel. To enter Abrahm Kantor's--Brasses--was three steps down, so that his casement show-window, at best filmed over with the constant rain of dust ground down from the rails above, was obscure enough, but crammed with the copied loot of khedive and of czar. The seven-branch candlestick so Biblical and supplicating of arms. An urn, shaped like Rebecca's, of brass all beaten over with little poks. Things: cups, trays, knockers, ikons, gargoyles, bowls, and teapots. A symphony of bells in graduated sizes. Jardinières with fat sides. A pot-bellied samovar. A swinging lamp for the dead, star-shaped. Against the door, an octave of tubular chimes, prisms of voiceless harmony and of heatless light. Opening this door, they rang gently, like melody heard through water and behind glass. Another bell rang, too, in tilted singsong from a pulley operating somewhere in the catacomb rear of this lambent vale of things and things and things. In turn, this pulley set in toll still another bell, two flights up in Abrahm Kantor's tenement, which overlooked the front of whizzing rails and a rear wilderness of gibbet-looking clothes-lines, dangling perpetual specters of flapping union suits in a mid-air flaky with soot.