The Tin Drum d-1

by Günter Grass

  The others, however—as I have said, there were some thirty of them who couldn’t make up their minds to run for it—were standing against the wall across from the side entrance when Jan leaned the queen of hearts against the king of hearts and, thoroughly blissful, took his hands away.

  What more shall I say? They found us. They flung the door open, shouting “Come out!” stirred up a wind, and the card house collapsed. They had no feeling for this kind of architecture. Their medium was concrete. They built for eternity. They paid no attention whatever to Postal Secretary Bronski’s look of indignation, of bitter injury. They didn’t see that before coming out Jan reached into the pile of cards and picked up something, or that I, Oskar, wiped the candle ends from my newly acquired drum, took the drum but spurned the candle ends, for light was no problem with all those flashlights shining in our eyes. They didn’t even notice that their flashlights blinded us and made it hard for us to find the door. From behind flashlights and rifles, they shouted: “Come out of there,” and they were still shouting “Come out” after Jan and I had reached the corridor. These “come outs” were directed at Kobyella, at Konrad from Warsaw, at Bobek and little Wischnewski, who in his lifetime had kept the telegraph window. The invaders were alarmed at these men’s unwillingness to obey. I gave a loud laugh every time the Home Guards shouted “Come out” and after a while they saw they were making fools of themselves, stopped shouting, and said, “Oh!” Then they led us to the thirty in the courtyard with arms upraised and hands folded behind their necks, who were thirsty and having their pictures taken for the newsreels.

  The camera had been mounted on top of an automobile. As we were led out through the side door, the photographers swung it around at us and shot the short strip that was later shown in all the movie houses.

  I was separated from the thirty defenders by the wall. At this point Oskar remembered his gnomelike stature, he remembered that a three-year-old is not responsible for his comings and goings. Again he felt those disagreeable pains in his head and limbs; he sank to the ground with his drum, began to thrash and flail, and ended up throwing a fit that was half real and half put on, but even during the fit he hung on to his drum. They picked him up and handed him into an official car belonging to the SS Home Guard. As the car drove off, taking him to the City Hospital, Oskar could see Jan, poor Jan, smiling stupidly and blissfully into the air. In his upraised hands he held a few skat cards and with one hand—holding the queen of hearts, I think—he waved to Oskar, his departing son.

  He Lies in Saspe

  I have just reread the last paragraph. I am not too well satisfied, but Oskar’s pen ought to be, for writing tersely and succinctly, it has managed, as terse, succinct accounts so often do, to exaggerate and mislead, if not to lie.

  Wishing to stick to the truth, I shall try to circumvent Oskar’s pen and make a few corrections: in the first place, Jan’s last hand, which he was unhappily prevented from playing out and winning, was not a grand hand, but a diamond hand without two; in the second place, Oskar, as he left the storeroom, picked up not only his new drum but also the old broken one, which had fallen out of the laundry basket with the dead suspenderless man and the letters. Furthermore, there is a little omission that needs filling in: No sooner had Jan and I left the storeroom for undeliverable mail at the behest of the Home Guards with their “Come outs,” their flashlights, and their rifles, than Oskar, concerned for his comfort and safety, made up to two Home Guards who struck him as good-natured, uncle-like souls, put on an imitation of pathetic sniveling, and pointed to Jan, his father, with accusing gestures which transformed the poor man into a villain who had dragged off an innocent child to the Polish Post Office to use him, with typically Polish inhumanity, as a buffer for enemy bullets. Oskar counted on certain benefits for both his drums, and his expectations were not disappointed: the Home Guards kicked Jan in the small of the back and battered him with their rifle stocks, but left me both drums, and one middle-aged Home Guard with the careworn creases of a paterfamilias alongside of his nose and mouth stroked my cheeks, while another, tow-headed fellow, who kept laughing and in laughing screwed up his eyes so you couldn’t see them, picked me up in his arms, which was distasteful and embarrassing to Oskar.

  Even today, it fills me with shame to think, as I sometimes do, of this disgusting behavior of mine, but I always comfort myself with the thought that Jan didn’t notice, for he was still preoccupied with his cards and remained so to the end, that nothing, neither the funniest nor the most fiendish inspiration of the Home Guards, could ever again lure his attention away from those cards. Already Jan had gone off to the eternal realm of card houses and castles in Spain, where men believe in happiness, whereas the Home Guards and I—for at this moment Oskar counted himself among the Home Guards—stood amid brick walls, in stone corridors, beneath ceilings with plaster cornices, all so intricately interlocked with walls and partitions that the worst was to be feared for the day when, in response to one set of circumstances or another, all this patchwork we call architecture would lose its cohesion.

  Of course this belated perception cannot justify me, especially when it is remembered that I have never been able to look at a building under construction without fancying this same building in process of being torn down and that I have always regarded card houses as the only dwellings worthy of humankind. And there is still another incriminating factor. That afternoon I felt absolutely certain that Jan Bronski was no mere uncle or presumptive father, but my real father. Which put him ahead of Matzerath then and for all time: for Matzerath was either my father or nothing at all.

  September 1, 1939—I assume that you too, on that ill-starred afternoon, recognized Bronski, the blissful builder of card houses, as my father—that date marks the inception of my second great burden of guilt.

  Even when I feel most sorry for myself, I cannot deny it: It was my drum, no, it was I myself, Oskar the drummer, who dispatched first my poor mama, then Jan Bronski, my uncle and father, to their graves.

  But on days when an importunate feeling of guilt, which nothing can dispel, sits on the very pillows of my hospital bed, I tend, like everyone else, to make allowances for my ignorance—the ignorance which came into style in those years and which even today quite a few of our citizens wear like a jaunty and oh, so becoming little hat.

  Oskar, the sly ignoramus, an innocent victim of Polish barbarism, was taken to the City Hospital with brain fever. Matzerath was notified. He had reported my disappearance the night before, although his ownership of me had never been proved.

  As for the thirty men with upraised arms and hands folded behind their necks, they—and Jan—after having their pictures taken for the newsreels, were taken first to the evacuated Victoria School, then to Schiesstange Prison. Finally, early in October, they were entrusted to the porous sand behind the wall of the run-down, abandoned old cemetery in Saspe.

  How did Oskar come to know all this? I heard it from Leo Schugger. For of course there was never any official announcement to tell us against what wall the thirty-one men were shot and what sand was shoveled over them.

  Hedwig Bronski first received a notice to vacate the flat in Ringstrasse, which was taken over by the family of a high-ranking officer in the Luftwaffe. While she was packing with Stephen’s help and preparing to move to Ramkau—where she owned a house and a few acres of forest and farmland—she received the communication which made her officially a widow. She gazed at it out of eyes which mirrored but did not penetrate the sorrows of the world, and it was only very slowly, with the help of her son Stephan, that she managed to distil the sense of it. Here is the communication:

  Court-Martial, Eberhardt St. L. Group 41/39

  Zoppot, 6 Oct. 1939

  Mrs. Hedwig Bronski,

  You are hereby informed that Bronski, Jan, has been sentenced to death for irregular military activity and executed.

  Zelewski

  (Inspector of Courts-Martial)

  So you see, not a word a
bout Saspe. Out of solicitude for the men’s relatives, who would have been crushed by the expense of caring for so large and flower-consuming a mass grave, the authorities assumed full responsibility for maintenance and perhaps even for transplantation. They had the sandy soil leveled and the cartridge cases removed, except for one—one is always overlooked—because cartridge cases are out of place in any respectable cemetery, even an abandoned one.

  But this one cartridge case, which is always left behind, the one that concerns us here, was found by Leo Schugger, from whom no burial, however discreet, could be kept secret. He, who knew me from my poor mama’s funeral and from that of my scar-covered friend Herbert Truczinski, who assuredly knew where they had buried Sigismund Markus—though I never asked him about it—was delighted, almost beside himself with joy, when late in November, just after I was discharged from the hospital, he found an opportunity to hand me the telltale cartridge case.

  But before I guide you in the wake of Leo Schugger to Saspe Cemetery with that slightly oxidized cartridge case, which perhaps had harbored the lead kernel destined for Jan, I must ask you to compare two hospital beds, the one I occupied in the children’s section of the Danzig City Hospital, and the one I am lying in now. Both are metal, both are painted with white enamel, yet there is a difference. The bed in the children’s section was shorter but higher, if you apply a yardstick to the bars. Although my preference goes to the shorter but higher cage of 1939, I have found peace of mind in my present makeshift bed, intended for grownups, and learned not to be too demanding. Months ago I put in a petition for a higher bed, though I am perfectly satisfied with the metal and the white enamel. But let the management grant my petition or reject it; I await the result with equanimity.

  Today I am almost defenseless against my visitors; then, on visiting days in the children’s section, a tall fence separated me from Visitor Matzerath, from Visitors Greff (Mr. and Mrs.) and Scheffler (Mr. and Mrs.). And toward the end of my stay at the hospital, the bars of my fence divided the mountain-of-four-skirts named after my grandmother Anna Koljaiczek, into worried, heavily breathing compartments. She came, sighed, raised her great multifarious hands, disclosing her cracked pink palms, then let hands and palms sink in despair. So violent was her despair that they slapped against her thighs, and I can hear that slapping to this day, though I can give only a rough imitation of it on my drum.

  On the very first visit she brought along her brother Vincent Bronski, who clutched the bars of my bed and spoke or sang softly but incisively and at great length about the Virgin Mary, Queen of Poland. Oskar was glad when there was a nurse nearby. For those two were my accusers, they turned their unclouded Bronski eyes on me and, quite oblivious of the time I was having with this brain fever I had acquired while playing skat in the Polish Post Office, expected me to comfort them with a kind word, to reassure them about Jan’s last hours, spent between terror and card houses. They wanted a confession from me that would put Jan in the clear; as though I had it in my power to clear him, as though my testimony carried any weight.

  Supposing I had sent an affidavit to the court-martial of the Eberhardt Group. What would I have said? I, Oskar Matzerath, avow and declare that on the evening of August 31 I waited outside Jan Bronski’s home for him to come home and lured him, on the ground that my drum needed repairing, back to the Polish Post Office, which Jan Bronski had left because he did not wish to defend it.

  Oskar made no such confession; he did nothing to exculpate his presumptive father. Every time he decided to speak, to tell the old people what had happened, he was seized with such convulsions that at the demand of the head nurse his visiting hours were curtailed and the visits of his grandmother Anna and his presumptive grandfather Vincent were forbidden.

  The two old people, who had walked in from Bissau and brought me apples, left the children’s ward with the wary, helpless gait of country folk in town. And with each receding step of my grandmother’s four skirts and her brother’s black Sunday suit, redolent of cow dung, my burden of guilt, my enormous burden of guilt increased.

  So much happened at once. While Matzerath, the Greffs, the Schefflers crowded round my bed with fruit and cakes, while my grandmother and Uncle Vincent walked in from Bissau by way of Goldkrug and Brenntau because the railroad line from Karthaus to Langfuhr had not yet been cleared, while nurses, clad in anesthetic white, babbled hospital talk and substituted for angels in the children’s ward, Poland was not yet lost, almost lost, and finally, at the end of those famous eighteen days, Poland was lost, although it was soon to turn out that Poland was not yet lost; just as today, despite the efforts of the Silesian and East Prussian patriotic societies, Poland is not yet lost.

  O insane cavalry! Picking blueberries on horseback. Bearing lances with red and white pennants. Squadrons of melancholy, squadrons of tradition. Picture-book charges. Racing across the fields before Lodz and Kutno. At Modlin substituting for the fortress. Oh, so brilliantly galloping! Always waiting for the sunset. Both foreground and background must be right before the cavalry can attack, for battles were made to be picturesque and death to be painted, poised in mid-gallop, then falling, nibbling blueberries, the dog roses crackle and break, providing the itch without which the cavalry will not jump. There are the Uhlans, they’ve got the itch again, amid haystacks—another picture for you—wheeling their horses, they gather round a man, his name in Spain is Don Quixote, but here he is Pan Kichot, a pure-blooded Pole, a noble, mournful figure, who has taught his Uhlans to kiss ladies’ hands on horseback, ah, with what aplomb they will kiss the hand of death, as though death were a lady; but first they gather, with the sunset behind them—for color and romance are their reserves—and ahead of them the German tanks, stallions from the studs of the Krupps von Bohlen und Halbach, no nobler steeds in all the world. But Pan Kichot, the eccentric knight in love with death, the talented, too talented knight, half-Spanish half-Polish, lowers his lance with the red-and-white pennant and calls on his men to kiss the lady’s hand. The storks clatter white and red on the rooftops, and the sunset spits out pits like cherries, as he cries to his cavalry: “Ye noble Poles on horseback, these are no steel tanks, they are mere windmills or sheep, I summon you to kiss the lady’s hand.”

  So rode the squadrons out against the grey steel foe, adding another dash of red to the sunset glow.

  Oskar hopes to be forgiven for the poetic effects. He might have done better to give figures, to enumerate the casualties of the Polish cavalry, to commemorate the so-called Polish Campaign with dry but eloquent statistics. Or another solution might be to let the poem stand but append a footnote.

  Up to September 20, I could hear, as I lay in my hospital bed, the roaring of the cannon firing from the heights of the Jeschkental and Oliva forests. Then the last nest of resistance on Hela Peninsula surrendered. The Free Hanseatic City of Danzig celebrated the Anschluss of its brick Gothic to the Greater German Reich and gazed jubilantly into the blue eyes (which had one thing in common with Jan Bronski’s blue eyes, namely their success with women) of Adolf Hitler, the Führer and Chancellor, as he stood in his black Mercedes distributing rectangular salutes.

  In mid-October Oskar was discharged from the City Hospital. It was hard for me to take leave of the nurses. When one of them—her name was Berni or maybe Erni, I think—when Sister Erni or Berni gave me my two drums, the battered one that had made me guilty and the whole one that I had conquered during the battle of the Polish Post Office, it came to me that I hadn’t thought of my drums for weeks, that there was something else in the world for me beside drums, to wit, nurses.

  Matzerath held me by the hand as, still rather shaky on my three-year-old pins, I left the City Hospital with my instruments and my new self-knowledge, for the flat in Labesweg, there to face the tedious weekdays and still more tedious Sundays of the first war year.

  One Tuesday late in November, I was allowed to go out for the first time after weeks of convalescence. As he was gloomily drumming through the streets,
paying little attention to the cold rain, whom should Oskar run into on the corner of Max-Halbe-Platz and Brösener-Weg but Leo Schugger, the former seminarist.

  We stood for some time exchanging embarrassed smiles, and it was not until Leo plucked a pair of kid gloves from the pockets of his morning coat and pulled the yellowish-white, skinlike coverings over his fingers and palms, that I realized whom I had met and what this encounter would bring me. Oskar was afraid.

  For a while we examined the windows of Kaiser’s grocery store, looked after a few streetcars of lines Number 5 and 9, which crossed on Max-Halbe-Platz, skirted the uniform houses on Brösener-Weg, revolved several times round an advertising pillar, studied a poster telling when and how to exchange Danzig guldens for reichsmarks, scratched a poster advertising Persil soap powder, and found a bit of red under the blue and white but let well enough alone. We were just starting back for Max-Halbe-Platz when suddenly Leo Schugger pushed Oskar with both hands into a doorway, reached under his coat-tails with the gloved fingers of his left hand, poked about in his pants pocket, sifted the contents, found something, studied it for a moment with his fingers, then, satisfied with what he had found, removed his closed fist from his pocket, and let his coat-tail fall back into place. Slowly he thrust forward the gloved fist, forward and still forward, pushing Oskar against the wall of the doorway; longer and longer grew his arm, but the wall did not recede. That arm, I was beginning to think, was going to jump out of its socket, pierce my chest, pass through it, and make off between my shoulder blades and the wall of this musty doorway. I was beginning to fear that Oskar would never see what Leo had in his fist, that the most he would ever learn in this doorway was the text of the house regulations, which were not very different from those in his own house in Labesweg. And then the five-fingered skin opened.