by Günter Grass
But Director Brauxel takes the reference to inadequate ventilation lightly. “Everything will be all right, boys, when the centrifugal ventilators come. They’ll speed up the intake.”
And they leave the first stall, over whose caustic solutions white vapors swirl, and find their way, foreman with raised lamp in the lead, to the second stall, where caustic-treated materials and new materials are subjected to dry degradation: a scoop driven by a sprocket wheel is moving a mountain of materials over loose muck, a leftover from potash-mining days.
But when with dog as chipper as ever they enter the third stall, no sprocket wheel is roaring, no magnesium chloride develops vapors; here, in lateral lockers, men’s suits and overcoats and an assortment of uniforms are being devoured by moths. The articles here being degraded require attention only once a week. But Wernicke, the foreman, has the power of the keys and opens one of the lockers; moth silver sweeps up in a cloud. Quickly the door is closed.
In the fourth stall the visitors are introduced to an assortment of machines operated by former muckers and drillers, which on the one hand give caustic-scoop-moth-degraded materials an additional tearing, subject them to searing heat, and mark them with oil, ink, and wine spots, and on the other hand cut the now fully degraded materials to pattern, line them, and stitch them up. The director with dog, the overseer, and Matern the stranger are then received by the fifth stall, which rather resembles an engine room.
Scrap from the all-devouring surface, accumulated by auto graveyards, engendered by wars and wrecking operations, scrap sorted out after boiler explosions, an anthology of scrap lies here in mounds, travels on conveyor belts, is disentangled with blow torches, takes rust-removing baths, hides a little while, and then returns galvanized to the conveyor belt: parts are assembled, ball joints play, gears come through the sand test unclogged, index wheels with chain hooks form a conveyor system that runs empty. Piston rods, clutches, bushings, governors, and suchlike gadgets obey electric motors. On man-high frames hang mechanical monsters. In busy skeletons elevators dawdle adagio from floor to floor. In stiffly vaulted thoraxes hammer mills have undertaken the never-ending task of crushing loud steel balls. Noise, noise!
And still more educational training in the sixth stall. Their ears are subjected to an experience which first makes Pluto restless, then sets him to howling under the steep late-Gothic roof.
And Matern, the stranger, says: “This is hell, indeed! We ought to have left the dog up top. The poor fellow is suffering.”
But Brauxel, the director, is of the opinion that the dog’s howling, flung vertically at the roof, blends admirably with the pretested electronic systems of the skeletons in process of manufacture: “Yet what has unthinkingly been termed a hell gives bread and wages shift in shift out to thirty miners, trained by internationally known metal sculptors and sound experts. Our head foreman, the worthy Herr Wernicke, will bear me out when I say that muckers and drillers, who have been working in the mine for twenty years, are inclined to find hell anywhere on the surface, but no proof of hell below ground, not even when the ventilation is poor.”
The mine-wise foreman nods several times and leads his director, the director’s perseveringly howling dog, and the stranger out of the sixth stall, where the noise is unable to catch up with itself, through the muffling gangway, and out to the gallery, where the noise continues to recede.
They follow his buzzing carbide lamp to the mining shaft which at the beginning of the visit carried them from the pit bottom to the waste stall and the vent shaft.
Again descent is re-enacted, but only briefly, down to the level which the foreman traditionally calls the pit bottom but the director refers to as the “path of first-class disciplines.”
In the seventh, eighth, and ninth stalls, the stranger below is exposed, in the interest of training, to the three cardinal emotions and their echo effects.
And once again Matern ventures to cry out: “This is hell, indeed!” although the weeping, every human variety of which is here represented, is tearless. Dry emotion turns the stall into a house of woe. Swathed in degraded mourning garments, frames, which only a little while before were scrap iron and then, resurrected as skeletons, were invested with noisy or soundless mechanisms and submitted to various mechanical and acoustical tests, now stand in weeping circles on the bare-scraped floor. Each circle has set itself a different tear-promoting yet desert-dry task. Here it begins. The next circle can’t turn off the whimpering. This circle sobs deep within. Wailing, crescendo and decrescendo, dents and distends every circle. Muffled weeping, as into pillows. Blubbering as though the milk had been burned. Sniveling, handkerchief between teeth. Misery is contagious. Knotted into convulsions and threatened with hiccups. Plaintive to tearful: Bawling Suzy and Blubbering Lizzie. And above the shoulder-shaking, the breast-beating, the silent inward weeping, a voice on the verge of tears recites sob stories, snot-and-water stories, stories to soften a stone: “And then the cruel bailiff said to the frozen little flower girl. But when the poor child held out her hands in supplication to the rich peasant. And when the famine was at its height, the king commanded that every third child in the land. The blind old woman was so lonely she thought she would have to. And when the brave young warrior lay thus miserably in his blood. Then grief spread like a shroud over the land. The ravens croaked. The wind moaned. The horses went lame. The deathwatch ticked in the beams. Woe! Woe! That will be your fate. There shall not be left one stone upon another, nor shall any eye remain dry. Woe!”
But those who in the seventh stall are subjected to the discipline of weeping, have no glands to open the floodgates. Here not even onion juice would help. These automats weep, but the coins refuse to jingle. And how indeed could this lacrimal discipline, encompassed as it is by salt above, below, and on all sides, be expected to release fountains with a crystalline residue, capable of seducing a goat?
And after so much futility, the director with dog and the foreman followed by the stranger leave the seventh chamber of the first emotion, to follow the busy gallery in silence until the foreman’s lamp leads them through a gangway into the eighth stall, which seems almost too small to contain so much glee.
And once again Matern cannot hold back his cry: “What hellish laughter!” But actually—as Director Brauxel immediately points out—in the eighth stall only the gamut of the second emotion, human laughter, is assembled. We know the scale from tittering to splitting a gut. “It should be pointed out,” says Wernicke, the foreman, “that the eighth stall is the only one in our entire plant which, because of the continuous explosions, has to be secured against cave-in with three rows of the finest mine props.”
This is understandable. Frames, which sackcloth-clad were practicing grief and lamentation only a short time ago, are now guffawing bleating laughing in bright-colored, though also degraded, Scotch plaids and cowboy shirts. They double up, they lie down, they roll on the ground. Their built-in mechanisms permit belly-holding, thigh-slapping, and stamping. And while limbs make themselves independent, it bursts from a fist-size opening: the roar of people laughing themselves sick and sound, old men’s laughter, tapped from beer barrels and wine cellars, staircase and lobby laughter, insolent, groundless, Satanic, sardonic laughter, nay more, insane and desperate laughter. It resounds in the cathedral with its forest of columns, mingles mates multiplies, a chorus struggling for breath: here laugh the company, the regiment, the army, the loons, homerically the gods, the people of the Rhineland, all Germany laughs at, with, in spite of, without end: German scarecrow laughter.
It is Walter Matern, the stranger below, who first speaks the characterizing word. And since neither the director nor the foreman corrected him when he spoke of hellish laughter, he calls the jokes that run back and forth between the laughing automats, which may as well be termed scarecrows, scarecrow jokes: “You heard this one? Two blackbirds and a starling meet in the Cologne Central Station… Or this one? A lark takes the interzonal tram to Berlin for Corpus Christi
, and when it gets to Marienborn… Or this one, it’s really good: Three thousand two hundred and thirty-two sparrows decide to go to a whorehouse together, and when they come out, one of them has the clap. Which one? Wrong! Once again now, listen carefully: Three thousand two hundred and thirty-two sparrows…”
Matern, the stranger below, pronounces this brand of humor too cynical for his taste. To his mind, humor should have a liberating, healing, often even a saving effect. He misses human warmth, or call it kindness, charity. Such qualities are promised him for the ninth stall. Whereupon all, including the never laughing Pluto, turn away from the scarecrow laughter and follow the gallery until a gangway branching off to the left announces the stall inhabited by the third cardinal emotion.
And Matern sighs, because the foretaste of dishes not yet served embitters his palate. At this Brauxel has to raise his curious lamp and ask what there is to sigh about. “I’m sorry for the dog, who hasn’t a chance to romp about up above where the spring is green, who has to follow at heel down below and live through this meticu lously organized inferno.”
Brauxel, however, who is carrying not the usual plain walking stick but an ebony cane with an ivory crutch, which only a few hours before belonged to an immoderate smoker calling himself Goldmouth, never smokes below ground but says: “If this, our plant, absolutely has to be called an inferno by a stranger to the mine, it only goes to show that the company needs a hellhound of its own; just see how our light teaches the animal to cast a hellish shadow that devours the gallery: already the gangway is sucking him in. We must follow.”
Here narrow-eyed hate, never oxidizing rage, cold and hot revenge keep school. In wind-inflated and consequently voluminous battle dress, which repeated caustic degradation has injected with the traces of seven boiler battles. Scarecrows which sackcloth-clad operated a tear pump that persistently said no, scarecrows which in bright checks and loud polka dots let their built-in humor-developer unwind, are standing in the empty stall, each scarecrow by himself. So this is the homework imposed on rage, hate, revenge: full-grown crowbars must be bent into question marks and suchlike gewgaws. Patched countless times, rage must burst and blow itself up again with its own lungs. Hate has to burn holes in its own knee with its narrow-set eyes. But cold and hot revenge must go round—Don’t turn around, revenge is around—and grind whole spoonfuls of quartz pebbles between their teeth.
So that’s what the meal sounds like that Matern, the stranger, had a foretaste of. School fare. Scarecrow fare. For not satisfied with bursting and with burning holes, not finding expression enough in the bending of crowbars, rage, the great valve burster, and hate, the blowtorch, spoon themselves full from feed troughs into which two employees of Brauxel & Co. hourly shovel a supply of the pebbles—food for grinding teeth—which are plentiful on the green surface of the earth.
Thereupon, Matern, who from earliest childhood has ground his teeth whenever rage rode him, hate compelled him to stare at a fixed point, and revenge commanded him to make rounds, turns away from these scarecrows who have raised his particularity to the level of a universal discipline.
And to the foreman, who with upraised lamp is leading them from the ninth stall to the gallery, he says: “I should think that these immoderately expressive scarecrows would sell well. Man loves to see his mirror image in a blind rage.”
But Wernicke, the foreman, counters: “It is true that formerly, in the early fifties, our odonto-acoustical models were in great demand both on the domestic and on the foreign market, but now that the decade has come of age, collections based on the third cardinal emotion find takers only in the young African states.”
Whereupon Brauxel smiles subtly and pats Pluto on the neck: “Don’t worry about the marketing problems of Brauxel & Co. Hate, rage, and roving revenge will be back in style one of these days. A cardinal emotion that promotes the grinding of teeth can’t be a passing fad. To abolish revenge is to take revenge on revenge.”
These words mount the electric trolley with them and demand to be mulled over during the long ride through two trap doors, past barred blind shafts and waste-filled stalls. Only at their destination, where the foreman promises a visit to the tenth to twenty-second stalls, is Brauxel’s proposition about unabolishable revenge forgotten, though without loss to it succinctness.
For even in the tenth, eleventh, and twelfth stalls, where athletic, religious, and military exercises, in other words, relay races, skipping processions, and changes of the guard, are being performed, rage, hate, the revenge which, because it is always roving, cannot be rooted out, the futile tear pump, and the built-in humor-developer, in short, the cardinal emotions weeping, laughter, and the grinding of teeth provide the deep-seated foundation on which athletic scarecrows are able to break records at pole vaulting, penitent scarecrows at split-pea racing, and newly recruited scarecrows at close combat. How scarecrow outdoes scarecrow by a scarecrow head, how scarecrows keep bettering their time at elevating scarecrow crosses, how they overcome barbed-wire entanglements, not with old-fashioned wire cutters but by eating them up, barbs and all, then evacuate them barbless in scarecrow fashion, deserves to be recorded on charts, and recorded it is. Employees of Brauxel & Co. measure and enter: Scarecrow records and rosary lengths. Three stalls that were blasted in potash-mining days until they attained gymnasium length, church height, and the width of broad-shouldered antiaircraft dugouts, provide over four hundred team-spirited scarecrows, halleluia scarecrows, holdouttothelastgasp scarecrows per shift with room in which to develop their electron ically guided energies. Remote-controlled for the present—the control room is where the windlass platform used to be—indoor sport festivals, pontifical offices, and autumn maneuvers, or the other way around, athletic events for recruits, divine services in the front lines, and the blessing of scrap-iron scarecrow weapons fill schedules in order that later on, when, as they say, an emergency arises, every record can be broken, every heretic unmasked, and every hero find his victory.
The director with his dog and the visitor with Wernicke, the mine-wise foreman, leave the caustic-degraded athletes, the moth-degraded monks’ habits, and the scoop-degraded fatigue uniforms, which have to creep and crawl toward the enemy while the scarecrow enemy likewise creeps and crawls, for in the schedule it is written: Creeping and crawling. Creeping and crawling toward. Mutual creeping and crawling up to.
But when, as the visit continues, the thirteenth and fourteenth stalls are inspected, the scarecrow collections in training are no longer dressed in athletic costumes, altar-boy red, and camouflage fatigues; the goings-on in these two stalls are strictly civilian. For in a family stall and an administrative stall the democratic virtues of the scarecrow state, whose form of government is determined by the needs of its citizens, are inculcated, developed, and put into daily practice. Harmoniously scarecrows sit at the table, at the television screen, and in moth-degraded camp tents. Scarecrow families—for the family is the germ cell of the state—are instructed concerning every article of the provisional constitution. Loud speakers proclaim what polyphonic families repeat, the scarecrow preamble: “Conscious of its responsibility before God and men, inspired by the will to preserve our national and political scarecrow unity…” Then Article 1, dealing with the dignity of scarecrows, which is inviolable. Then the right, guaranteed in Article 2, of the scarecrow personality to develop freely. Then one thing and another, and finally Article 8, which guarantees to all scarecrows the right to assemble peacefully and unarmed, without notice and permission. And nodding their heads, scarecrow families acquiesce in Article 27: “All German-blooded scarecrows are uniformly stamped with the trade mark of the firm of Brauxel & Co.”; nor is there any opposition to Article 16, Paragraph 2: “Victims of persecution will enjoy the right of asylum below ground.” And all this political science, from the “universal right to grouse” to “forced expatriation,” is practiced in the fourteenth pit: scarecrow voters step into polling booths; discussion-welcoming scarecrows discuss the dangers of
the welfare state; scarecrows whose journalistic talent condenses in a daily newspaper invoke the freedom of the press, Article 5; the parliament convenes; the Scarecrow Supreme Court rejects a last appeal; in questions of foreign policy, the opposition supports the government party; party discipline is exerted; the tax collector holds out his hand; freedom of coalition connects stalls that do not border on the same gallery; in accordance with Article 1 B, 3 a, scarecrow analysis with the help of the lie detector developed by Brauxel & Co. is declared unconstitutional; political life flourishes; nothing hampers communication; the self-government of scarecrows, guaranteed by Article 28 A 3, begins below ground and extends, on the flat and hilly surface, to the Canadian wheatfields, to the rice paddies of India, to the endless cornfields of the Ukraine, to every corner of the earth where the products of Brauxel & Co., namely, scarecrows of one variety or another, do their duty and put a stop to the depredations of birds.
But Walter Matern, the stranger below, says once again after the thirteenth and fourteenth stalls have shown themselves to be civilian and civic: “Heavens above, this is hell. It is hell itself!”
And so, in order to refute the stranger, Wernicke, the foreman, raising his lamp, leads Walter Matern and the director with compliant dog to the fifteenth, sixteenth, and seventeenth stalls, which house Eros unleashed, Eros inhibited, and phallic narcissism.
For here all uniformed discipline and civic dignity are defied, because hate, rage, and roving revenge, which only a short time before seemed to be checked by the administrative apparatus, bloom afresh, covered with degraded yet flesh-pink skin. Because all unleashed, inhibited, and narcissistic scarecrows nibble on the same cookie, the recipe for which makes dough of all lusts but satisfies no one regardless of how strenuously and in what positions the bare-assed mob fucks and squirts. Such results, to be sure, are registered only in the fifteenth stall, where the unleashed Eros permits none of the rutting scarecrows to ring the knell of an erection which has been at it for innumerable shifts. No stopper can withstand the flood. No intermission bell rings for this permanent orgasm. Unchecked flows the scarecrow snot, a sylvinite-containing product, as foreman Wer nicke explains, which has been developed in the laboratories of Brauxel & Co. and injected with gonococcuslike agents, so that the unleashed, steady-flowing scarecrows enjoy the benefit of irritation and itching similar to those observed in cases of common gonorrhea. But this pestilence is allowed to spread only in the fifteenth and not in the sixteenth and seventeenth stalls. For in these two there is no ejaculation and in the inhibited stall not even the indispensable erection. In the narcissistically phallic stall the solo scarecrows struggle in vain, despite the sultry music with prurient words which tries to help them, despite the sexy movie excerpts that occupy the screens which have been hung on the far walls of the repressed and narcissistic stalls. No sap may rise. Every snake lies dormant. All satisfaction has remained above ground; for Matern, the stranger below, says: “That’s unnatural. Those are the torments of hell. Life, real life, has more to offer. I know. I’ve lived it!”