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New York Times

Book Review: ‘The Man Nobody Killed,' by Elon Green

THE MAN NOBODY KILLED: Life, Death, and Art in Michael Stewart's New York, by Elon Green In the early hours of Sept. 15, 1983, a 25-year-old Black man named Michael Stewart was arrested for allegedly tagging a subway wall with a marker. According to the arresting officer, Stewart attempted to escape up the stairs, where the officer caught him, pinning him to the ground with a nightstick. Outside the precinct headquarters on Union Square, he allegedly tried to run off again, only to be piled on by multiple officers. College students in a building overlooking the square saw the officers kicking and beating the handcuffed Stewart (who weighed only 143 pounds) as he lay facedown on the sidewalk, screaming for help. One witness saw an officer slide a club under Stewart's neck and yank it upward. After Stewart stopped moving he was thrown, hogtied, into a paddy wagon, and driven to Bellevue Hospital. There, after 13 days in a coma, he died. No one was ever held accountable. Elon Green's grimly vivid telling of this story and its aftermath in 'The Man Nobody Killed' is part elegy for Stewart himself, part portrait of the city that failed him. It avoids drawing explicit parallels with our own time, but then it hardly needs to. An aspiring artist, Stewart was just beginning to make his presence felt in New York's downtown scene. He'd bussed at the Pyramid Club (until he was fired for being insufficiently aggressive), modeled for Dianne Brill (Warhol's 'Queen of the Night'), dated Jean-Michel Basquiat's sometime girlfriend Suzanne Mallouk, partied at Danceteria and appeared in Madonna's debut music video at Paradise Garage. His own art, executed at a dilapidated studio above the Anderson Theater on the Bowery (no running water — fishbowls for toilets), was still at a formative stage: 'small, resonantly colored abstract paintings,' the New Yorker art critic Peter Schjeldahl wrote, that conveyed 'a serious aspiration.' He was seriously ambitious too: 'He wanted to do giant murals across the country,' a tagger buddy tells Green. Image But it was his unlucky fate to enter posterity as the subject of other people's art and protest rather than the creator of his own. A remarkable number of the luminaries of that watchful, jittery era were shocked into action by Stewart's killing. The artist David Wojnarowicz designed a flier for a rally at Union Square while Stewart was still on life support. Basquiat, profoundly shaken by the incident ('It could have been me,' he observed), painted a spontaneous memorial on his friend Keith Haring's studio wall. Haring, who had been arrested four times for graffiti but — as he acknowledged — was spared mistreatment because he was white, later fashioned an anguished tribute of his own. Andy Warhol, Toni Morrison and Spike Lee all drew on the event in various ways, while political reaction ranged from demonstrations to two separate bombings, one of which blew up the bathroom in the Patrolmen's Benevolent Association building, injuring two maintenance workers. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.