A new poster had suddenly appeared all over London. It had no caption, and represented simply the monstrous figure of a Eurasian soldier, three or four metres high, striding forward with expressionless Mongolian face and enormous boots, a submachine gun pointed from his hip. From whatever angle you looked at the poster, the muzzle of the gun, magnified by the foreshortening, seemed to be pointed straight at you. The thing had been plastered on every blank space on every wall, even outnumbering the portraits of Big Brother. The proles, normally apathetic about the war, were being lashed into one of their periodical frenzies of patriotism. As though to harmonize with the general mood, the rocket bombs had been killing larger numbers of people than usual. One fell on a crowded film theatre in Stepney, burying several hundred victims among the ruins. The whole population of the neighbourhood turned out for a long, trailing funeral which went on for hours and was in effect an indignation meeting. Another bomb fell on a piece of waste ground which was used as a playground and several dozen children were blown to pieces. There were further angry demonstrations, Goldstein was burned in effigy, hundreds of copies of the poster of the Eurasian soldier were torn down and added to the flames, and a number of shops were looted in the turmoil; then a rumour flew round that spies were directing the rocket bombs by means of wireless waves, and an old couple who were suspected of being of foreign extraction had their house set on fire and perished of suffocation.