Fall
Storms rinse the sky, the beaches, the streets, and a red sun dips into the sea, setting all the west-facing granite in Saint-Malo on fire, and three limousines with wrapped mufflers glide down the rue de la Crosse like wraiths, and a dozen or so German officers, accompanied by men carrying stage lights and movie cameras, climb the steps to the Bastion de la Hollande and stroll the ramparts in the cold.
From his fifth-floor window, Etienne watches them through a brass telescope, nearly twenty in all: captains and majors and even a lieutenant colonel holding his coat at the collar and gesturing at forts on the outer islands, one of the enlisted men trying to light a cigarette in the wind, the others laughing as his hat goes flying over the battlements.
Across the street, from the front door of Claude Levitte’s house, three women spill out laughing. Lights burn in Claude’s windows, though the rest of the block has no electricity. Someone opens a third-story window and throws out a shot glass, and off it goes spinning, over and over, down toward the rue Vauborel, and out of sight.
Etienne lights a candle and climbs to the sixth floor. Marie-Laure has fallen asleep. From his pocket, he takes a coil of paper and unrolls it. He has already given up trying to crack the code: he has written out the numbers, gridded them, added, multiplied; nothing has come of it. And yet it has. Because Etienne has stopped feeling nauseated in the afternoons; his vision has stayed clear, his heart untroubled. Indeed, it has been over a month since he has had to curl up against the wall in his study and pray that he does not see ghosts shambling through the walls. When Marie-Laure comes through the front door with the bread, when he’s opening the tiny scroll in his fingers, lowering his mouth to the microphone, he feels unshakable; he feels alive.
56778. 21. 4567. 1094. 467813.
Then the time and frequency for the next broadcast.
They have been at it for several months, new slips of paper arriving inside a loaf of bread every few days, and lately Etienne plays music. Always at night and never more than a shard of song: sixty or ninety seconds at the most. Debussy or Ravel or Massenet or Charpentier. He sets the microphone in the bell of his electrophone, as he did years before, and lets the record spin.
Who listens? Etienne imagines shortwave receivers disguised as oatmeal boxes or tucked under floorboards, receivers buried beneath flagstones or concealed inside bassinets. He imagines two or three dozen listeners up and down the coast—maybe more tuning in out at sea, captain’s sets on free ships hauling tomatoes or refugees or guns—Englishmen who expect the numbers but not the music, who must wonder: Why?
Tonight he plays Vivaldi. “L’Autunno—Allegro.” A record his brother bought at a shop on the rue Sainte-Marguerite four decades ago for fifty-five centimes.
The harpsichord plucks along, the violins make big baroque flourishes—the low, angled space of the attic brims with sound. Beyond the slates, a block away and thirty yards below, twelve German officers smile for cameras.
Listen to this, thinks Etienne. Hear this.
Someone touches his shoulder. He has to brace himself against the sloping wall to avoid falling over. Marie-Laure stands behind him in her nightdress.
The violins spiral down, then back up. Etienne takes Marie-Laure’s hand and together, beneath the low, sloping roof—the record spinning, the transmitter sending it over the ramparts, right through the bodies of the Germans and out to sea—they dance. He spins her; her fingers flicker through the air. In the candlelight, she looks of another world, her face all freckles, and in the center of the freckles those two eyes hang unmoving like the egg cases of spiders. They do not track him, but they do not unnerve him, either; they seem almost to see into a separate, deeper place, a world that consists only of music.
Graceful. Lean. Coordinated as she whirls, though how she knows what dancing is, he could never guess.
The song plays on. He lets it go too long. The antenna is still up, probably dimly visible against the sky; the whole attic might as well shine like a beacon. But in the candlelight, in the sweet rush of the concerto, Marie-Laure bites her lower lip, and her face gives off a secondary glow, reminding him of the marshes beyond the town walls, in those winter dusks when the sun has set but isn’t fully swallowed, and big patches of reeds catch red pools of light and burn—places he used to go with his brother, in what seems like lifetimes ago.
This, he thinks, is what the numbers mean.
The concerto ends. A wasp goes tap tap tap along the ceiling. The transmitter remains on, the microphone tucked into the bell of the electrophone as the needle traces the outermost groove. Marie-Laure breathes heavily, smiling.
After she has gone back to sleep, after Etienne has blown out his candle, he kneels for a long time beside his bed. The bony figure of Death rides the streets below, stopping his mount now and then to peer into windows. Horns of fire on his head and smoke leaking from his nostrils and, in his skeletal hand, a list newly charged with addresses. Gazing first at the crew of officers unloading from their limousines into the château.
Then at the glowing rooms of the perfumer Claude Levitte.
Then at the dark tall house of Etienne LeBlanc.
Pass us by, Horseman. Pass this house by.
Sunflowers
They drive a dusty track surrounded by square miles of dying sunflowers so tall that they seem like trees. The stems have dried and stiffened, and the faces bob like praying heads, and as the Opel bellows past, Werner feels as if they are being watched by ten thousand Cyclopic eyes. Neumann One brakes the truck, and Bernd unslings his rifle and takes the second transceiver and wades alone into the stalks to set it up. Werner raises the big antenna and sits in his usual spot in the box of the Opel with his headset on.
Up in the cab, Neumann Two says, “You never scrambled her eggs, you old virgin.”
“Shut your mouth,” says Neumann One.
“You jerk yourself to sleep at night. Bleed your weasel. Pound your flounder.”
“So does half the army. Germans and Russians alike.”
“Little pubescent Aryan back there is definitely a flounder pounder.”
Over the transceiver, Bernd reads off frequencies. Nothing nothing nothing.
Neumann One says, “The true Aryan is as blond as Hitler, as slim as Göring, and as tall as Goebbels—”
Laughter from Neumann Two. “Fuck if—”
Volkheimer says, “Enough.”
It’s late afternoon. All day they have moved through this strange and desolate region and have seen nothing but sunflowers. Werner runs the needle through the frequencies, switches bands, retunes the transceiver again, scouring the static. The air swarms with it day and night, a great, sad, sinister Ukrainian static that seems to have been here long before humans figured out how to hear it.
Volkheimer clambers out of the truck and lowers his trousers and pees into the flowers and Werner decides to trim the aerial, but before he does, he hears—as sharp and clear and menacing as the blade of a knife flashing in the sun—a volley of Russian. Adeen, shest, vosyem. Every fiber of his nervous system leaps awake.
He turns up the volume as far as it will go and presses the headphones against his ears. Again it comes: Ponye-something-feshky, shere-something-doroshoi . . . Volkheimer is looking at him through the open back of the truck shell as though he can sense it, as though he is coming awake for the first time in months, as he did that night out in the snow when Hauptmann fired his pistol, when they realized Werner’s transceivers worked.
Werner turns the fine-tune dial fractionally, and abruptly the voice booms into his ears, Dvee-nat-set, shayst-nat-set, davt-set-adeen, nonsense, terrible nonsense, pipelined directly into his head; it’s like reaching into a sack full of cotton and finding a razor blade inside, everything constant and undeviating and then that one dangerous thing, so sharp you can hardly feel it open your skin.
Volkheimer raps his massive fist on the side of the Opel to quiet the Neumanns, and Werner relays the channel to Bernd on the far
transceiver and Bernd finds it and measures the angle and relays it back and now Werner settles in to do the math. The slide rule, the trigonometry, the map. The Russian is still talking when Werner pulls his headset down around his neck. “North northwest.”
“How far?”
Only numbers. Pure math.
“One and a half kilometers.”
“Are they broadcasting now?”
Werner closes one cup of the headphones over an ear. He nods. Neumann One starts the Opel with a roar and Bernd comes crashing back through the flowers carrying the first transceiver and Werner withdraws the aerial and they grind off the road and directly through the sunflowers, punching them down as they go. The tallest are nearly as tall as the truck, and their big dry heads drum the roof of the cab and the sides of the box.
Neumann One watches the odometer and calls out distances. Volkheimer distributes weapons. Two Karabiner 98Ks. The Walther semiautomatic with the scope. Beside him, Bernd loads cartridges into the magazine of his Mauser. Bong, go the sunflowers. Bong bong bong. The truck yaws like a ship at sea as Neumann One coaxes it over ruts.
“Eleven hundred meters,” calls Neumann One, and Neumann Two scrambles onto the hood of the truck and peers above the field with binoculars. To the south, the flowers give way to a patch of raveled gherkins. Beyond those, ringed by bare dirt, stands a pretty cottage with a thatched roof and stucco walls.
“The line of yarrow. End of the field.”
Volkheimer raises his scope. “Any smoke?”
“None.”
“An antenna?”
“Hard to say.”
“Shut off the motor. On foot from here.”
Everything goes quiet.
Volkheimer, Neumann Two, and Bernd carry their weapons into the flowers and are swallowed. Neumann One stays behind the wheel, Werner in the truck shell. No land mines explode in front of them. All around the Opel, the flowers creak on their stems and nod their heliotropic faces as if in some sad accord.
“Fuckers are going to be surprised,” whispers Neumann One. His right thigh jogs up and down several times a second. Behind him, Werner raises the aerial as high as he dares and clamps on the headphones and switches on the transceiver. The Russian is reading what sounds like letters of the alphabet. Peh zheh kah cheh yu myakee znak. Each utterance seems to rise from the aural cotton for Werner’s ears alone, then melts away. Neumann One’s vibrating leg shakes the truck lightly, and the sun flares through the remnants of insects smeared across the windows, and a cold wind sets the whole field rustling.
Won’t there be sentries? Lookouts? Armed partisans sidling up right now behind the truck? The Russian on the radio is a hornet in each ear, zvou kaz vukalov—who knows what horrors he’s dispensing, troop positions, train schedules; he might be giving artillery gunners the truck’s location right now—and Volkheimer is walking out of the sunflowers, as large a target as a human has ever presented, holding his rifle like a baton; it seems impossible that the cottage could ever accommodate him, as though Volkheimer will engulf the house instead of the other way around.
First the shots come through the air around the headphones. A fraction of a second later, they come through the headphones themselves, so loud that Werner almost tears them off. Then even the static cuts out, and the silence in the headphones feels like something massive moving through space, a ghostly airship slowly descending.
Neumann One opens and closes the bolt of his rifle.
Werner remembers crouching next to his cot with Jutta after the Frenchman would sign off, the windows rattling from some passing coal train, the echo of the broadcast seeming to glimmer in the air for a moment, as though he could reach out and let it float down into his hands.
Volkheimer returns with ink spattered on his face. He raises two huge fingers to his forehead, pushes his helmet back, and Werner can see that it is not ink. “Set the house afire,” he says. “Quickly. Don’t waste diesel.” He looks at Werner. His voice tender, almost melancholy. “Salvage the equipment.”
Werner sets down the headphones, puts on his helmet. Swifts swoop out over the sunflowers. His vision makes slow loops, as though something has gone wrong with his balance. Neumann One hums in front of him as he carries a can of fuel through the stalks. They break through the sunflowers toward the cottage, stepping through Aaron’s rod, wild carrot, all the leaves browned from frost. Beside the front door a dog lies in the dust, chin on its paws, and for a moment Werner thinks it is only sleeping.
The first dead man is on the floor with an arm trapped beneath him and a crimson mess where his head should be. On the table is a second man: slumped as if sleeping on his ear, only the edges of his wound showing, a whorish purple. Blood that has spread across the table thickens like cooling wax. It looks almost black. Strange to think of his voice still flying through the air, already a country away, growing weaker every mile.
Torn pants, grimy jackets, one of the men in suspenders; they do not wear uniforms.
Neumann One tears down a potato-sack curtain and takes it outside and Werner can hear him splash it with diesel. Neumann Two pulls the suspenders off the second dead man and takes some braided shallots from the lintel and bundles them against his chest and leaves.
In the kitchen, a small brick of cheese sits half eaten. A knife beside it with a faded wooden handle. Werner opens a single cupboard. Inside dwells a den of superstition: jars of dark liquids, unlabeled pain remedies, molasses, tablespoons stuck to the wood, something marked, in Latin, belladonna, something else marked with an X.
The transmitter is poor, high-frequency: probably salvaged from a Russian tank. It seems little more than a handful of components shoveled into a box. The ground-plane antenna installed beside the cottage might have sent the transmissions thirty miles, if that.
Werner goes out, looks back at the house, bone-white in the failing light. He thinks of the kitchen cupboard with its strange potions. The dog that did not do its job. These partisans may have been involved in some dark forest magic, but they should not have been tinkering with the higher magic of radio. He slings his rifle and carries the big battered transmitter—its leads, its inferior microphone—through the flowers to the Opel, its engine running, Neumann Two and Volkheimer already in the cab. He hears Dr. Hauptmann: A scientist’s work is determined by two things: his interests and those of his time. Everything has led to this: the death of his father; all those restless hours with Jutta listening to the crystal radio in the attic; Hans and Herribert wearing their red armbands under their shirts so Frau Elena would not see; four hundred dark, glittering nights at Schulpforta building transceivers for Dr. Hauptmann. The destruction of Frederick. Everything leading to this moment as Werner piles the haphazard Cossack equipment into the shell of the truck and sits with his back against the bench and watches the light from the burning cottage rise above the field. Bernd climbs in beside him, rifle in his lap, and neither bothers to close the back door when the Opel roars into gear.
Stones
Sergeant Major von Rumpel is summoned to a warehouse outside Lodz. It is the first time he has traveled since completing his treatments in Stuttgart, and he feels as though the density of his bones has decreased. Six guards in steel helmets wait inside razor wire. Much heel-clicking and saluting ensues. He takes off his coat and steps into a zippered jumpsuit with no pockets. Three dead bolts give way. Through a door, four enlisted men in identical jumpsuits stand behind tables with jeweler’s lamps bolted to each. Plywood has been nailed over all the windows.
A dark-haired Gefreiter explains the protocol. A first man will pry the stones out of their settings. A second will scrub them one by one in a bath of detergent. A third will weigh each, announce its mass, and pass it to von Rumpel, who will examine the stone through a loupe and call out the clarity—Included, Slightly Included, Almost Loupe-Clean. A fifth man, the Gefreiter, will record the assessments.
“We’ll work in ten-hour shifts until we’re done.”
Von Rumpel nods.
Already his spine feels as if it might splinter. The Gefreiter drags a padlocked sack from beneath his table, unthreads a chain from its throat, and upends it onto a velvet-lined tray. Thousands of jewels spill out: emeralds, sapphires, rubies. Citrine. Peridot. Chrysoberyl. Among them twinkle hundreds upon hundreds of little diamonds, most still in necklaces, bracelets, cuff links, or earrings.
The first man carries the tray to his station, sets an engagement ring in his vise, and peels back the prongs with tweezers. Down the line comes the diamond. Von Rumpel counts the other bags beneath the table: nine. “Where,” he begins to ask, “did they all—”
But he knows where they came from.
Grotto
Months after the death of Madame Manec, Marie-Laure still waits to hear the old woman come up the stairs, her labored breathing, her sailor’s drawl. Jesus’s mother, child, it’s freezing! She never comes.
Shoes at the foot of the bed, beneath the model. Cane in the corner. Down to the first floor, where her knapsack hangs on its peg. Out. Twenty-two paces down the rue Vauborel. Then right for sixteen storm drains. Turn left on the rue Robert Surcouf. Nine more drains to the bakery.
One ordinary loaf, please.
And how is your uncle?
My uncle is well, thank you.
Sometimes the loaf has a white scroll inside and sometimes it does not. Sometimes Madame Ruelle has managed to procure a few groceries for Marie-Laure: cabbage, red peppers, soap. Back to the intersection with the rue d’Estrées. Instead of turning left onto the rue Vauborel, Marie-Laure continues straight. Fifty steps to the ramparts, a hundred or so more along the base of the walls to the mouth of the alley that grows ever narrower.
With her fingers, she finds the lock; from her coat she pulls the iron key Harold Bazin gave her a year before. The water is icy and shin-deep; her toes go numb in an instant. But the grotto itself comprises its own slick universe, and inside this universe spin countless galaxies: here, in the upturned half of a single mussel shell, lives a barnacle and a tiny spindle shell occupied by a still smaller hermit crab. And on the shell of the crab? A yet smaller barnacle. And on that barnacle?
In the damp box of the old kennel, the sound of the sea washes away all other sounds; she tends to the snails as though to plants in a garden. Tide to tide, moment to moment: she comes to listen to the creatures suck and shift and squeak, to think of her father in his cell, of Madame Manec in her field of Queen Anne’s lace, of her uncle confined for two decades inside his own house.
Then she feels her way back to the gate and locks it behind her.
That winter the electricity is out more than it is on; Etienne links a pair of marine batteries to the transmitter so that he can broadcast when the power is off. They burn crates and papers and even antique furniture to keep warm. Marie-Laure drags the heavy rag rug from the floor of Madame Manec’s apartment all the way to the sixth floor and drapes it over her quilt. Some midnights, her room grows so cold that she half believes she can hear frost settling onto the floor.
Any footfall in the street could be a policeman. Any rumble of an engine could be a detachment sent to haul them away.
Upstairs Etienne broadcasts again and she thinks: I should station myself by the front door in case they come. I could buy him a few minutes. But it is too cold. Far better to stay in bed beneath the weight of the rug and dream herself back into the museum, trail her fingers along remembered walls, make her way across the echoing Grand Gallery toward the key pound. All she has to do is cross the tiled floor and turn left and there Papa will be behind the counter, standing at his key cutter.
He’ll say, What took you so long, bluebird?
He’ll say, I will never leave you, not in a million years.
Hunting
In January 1943, Werner finds a second illegal transmission coming from an orchard on which a shell has fallen, cracking most of the trees in half. Two weeks later, he finds a third, then a fourth. Each new find seems only a variation of the last: the triangle closes in, each segment shrinking simultaneously, the vertices growing closer, until they are reduced to a single point, a barn or a cottage or a factory basement or some disgusting encampment in the ice.
“He is broadcasting now?”
“Yes.”
“In that shed?”
“Do you see the antenna along the eastern wall?”
Whenever he can, Werner records what the partisans say on magnetic tape. Everybody, he is learning, likes to hear themselves talk. Hubris, like the oldest stories. They raise the antenna too high, broadcast for too many minutes, assume the world offers safety and rationality when of course it does not.
The captain sends word that he is thrilled with their progress; he promises holiday leaves, steaks, brandy. All winter the Opel roves occupied territories, cities that Jutta recorded in their radio log coming to life—Prague, Minsk, Ljubljana.
Sometimes the truck passes a group of prisoners and Volkheimer asks Neumann One to slow. He sits up very straight, looking for any man as large as he is. When he sees one, he raps the dash. Neumann One brakes, and Volkheimer postholes out into the snow, speaks to a guard, and wades in among the prisoners, usually wearing only a shirt against the cold.
“His rifle is in the truck,” Neumann One will say. “Left his fucking rifle right here.”
All the Light We Cannot See Page 24