All the Light We Cannot See: A Novel (33 page)

Werner shakes his head. From a pocket Neumann Two pulls some crumpled and filthy reichsmarks. Before they leave, he asks the frau to bring a dozen hard-boiled eggs and hands Werner four.

From Schulpforta they ride a train through Leipzig and disembark at a switching station west of Lodz. Soldiers from an infantry battalion lie along the platform, all of them asleep, as though some enchantress has cast a spell over them. Their faded uniforms look spectral in the dimness, and their breathing seems synchronized, and the effect is ghostly and unnerving. Now and then a loudspeaker mutters destinations Werner has never heard of—
Grimma, Wurzen, Grossenhain
—though no trains come or go, and the men do not stir.

Neumann Two sits with his legs spread and eats eggs one after another, piling the shells into a tower inside his upturned cap. Dusk falls. A soft, tidal snoring issues from the sleeping company. Werner feels as though he and Neumann Two are the only souls awake in the world.

Well after dark, a whistle sounds in the east and the drowsing soldiers stir. Werner comes out of a half dream and sits up. Neumann Two is already upright beside him, palms cupped against each other, as though attempting to hold a sphere of darkness in the bowl of his hands.

Couplings rattle, brake blocks grind against wheels, and a train emerges from the gloom, moving fast. First comes a blacked-out locomotive, bolted over with armor, exhaling a thick geyser of smoke and steam. Behind the locomotive rumble a few closed cars and then a machine gun in a blister, two gunners crouching beside it.

All of the cars following the gunners’ car are flatcars loaded with people. Some stand; more kneel. Two cars pass, three, four. Each car appears to have a wall of sacks along the front to serve as windbreak.

The rails below the platform shine dully as they bounce beneath the weight. Nine flatcars, ten, eleven. All full. The sacks, as they pass, seem strange: they look as though they have been sculpted out of gray clay. Neumann Two raises his chin. “Prisoners.”

Werner tries to pick out individuals as the cars blur past: a sunken cheek, a shoulder, a glittering eye. Are they wearing uniforms? Many sit with their backs against the sacks at the front of the car: they look like scarecrows shipping west to be staked in some terrible garden. Some of the prisoners, Werner sees, are sleeping.

A face flashes past, pale and waxy, one ear pressed to the floor of the car.

Werner blinks. Those are not sacks. That is not sleep. Each car has a wall of corpses stacked in the front.

Once it becomes clear that the train will not stop, all the soldiers around them settle and close their eyes once more. Neumann Two yawns. Car after car the prisoners come, a river of human beings pouring out of the night. Sixteen seventeen eighteen: why count? Hundreds and hundreds of men. Thousands. Eventually from the darkness rushes a final flatcar where again the living recline on the dead, followed by the shadow of another gun in a blister and four or five gunners and then the train is gone.

The sound of the axles fades; silence seals itself back over the forest. Somewhere in that direction is Schulpforta with its dark spires, its bed wetters and sleepwalkers and bullies. Somewhere beyond that the groaning leviathan that is Zollverein. The rattling windows of Children’s House. Jutta.

Werner says, “They were sitting on their dead?”

Neumann Two closes an eye and cocks his head like a rifleman aiming into the darkness where the train has receded. “Bang,” he says. “Bang, bang.”

I
n the days following the death of Madame Manec, Etienne does not come out of his study. Marie-Laure imagines him hunched on the davenport, mumbling children’s rhymes and watching ghosts shuttle through the walls. Behind the door, his silence is so complete that she worries he has managed to depart the world altogether.

“Uncle? Etienne?”

Madame Blanchard walks Marie-Laure to St. Vincent’s for Madame Manec’s memorial. Madame Fontineau cooks enough potato soup to last a week. Madame Guiboux brings jam. Madame Ruelle, somehow, has baked a crumb cake.

Hours wear out and fall away. Marie-Laure sets a full plate outside Etienne’s door at night and collects an empty plate in the morning. She stands alone in Madame Manec’s room and smells peppermint, candle wax, six decades of loyalty. Housemaid, nurse, mother, confederate, counselor, chef—what ten thousand things was Madame Manec to Etienne? To them all? German sailors sing a drunken song in the street, and a house spider over the stove spins a new web every night, and to Marie-Laure this is a double cruelty: that everything else keeps living, that the spinning earth does not pause for even an instant in its trip around the sun.

Poor child.

Poor Monsieur LeBlanc.

Like they’re cursed.

If only her father would come through the kitchen door. Smile at the ladies, set his palms on Marie-Laure’s cheeks. Five minutes with him. One minute.

After four days, Etienne comes out of his room. The stairs creak as he descends, and the women in the kitchen fall silent. In a grave voice, he asks everyone to please leave. “I needed time to say goodbye, and now I must look after myself and my niece. Thank you.”

As soon as the kitchen door has closed, he turns the dead bolts and takes Marie-Laure’s hands. “All the lights are off now. Very good. Please, stand over here.”

Chairs slide away. The kitchen table slides away. She can hear him fumbling at the ring in the center of the floor: the trapdoor comes up. He goes down into the cellar.

“Uncle? What do you need?”

“This,” he calls.

“What is it?”

“An electric saw.”

She can feel something bright kindle in her abdomen. Etienne starts up the stairs, Marie-Laure trailing behind. Second floor, third, fourth fifth sixth, left turn into her grandfather’s room. He opens the doors of the gigantic wardrobe, lifts out his brother’s old clothes, and places them on the bed. He runs an extension cord out onto the landing and plugs it in. He says, “It will be loud.”

She says, “Good.”

Etienne climbs into the back of the wardrobe, and the saw yowls to life. The sound permeates the walls, the floor, Marie-Laure’s chest. She wonders how many neighbors hear it, if somewhere a German at his breakfast has cocked his head to listen.

Etienne removes a rectangle from the back of the wardrobe, then cuts through the attic door behind it. He shuts down the saw and wriggles through the raw hole, up the ladder behind it, and into the garret. She follows. All morning Etienne crawls along the attic floor with cables and pliers and tools her fingers do not understand, weaving himself into the center of what she imagines as an intricate electronic net. He murmurs to himself; he fetches thick booklets or electrical components from various rooms on the lower stories. The attic creaks;
houseflies draw electric-blue loops in the air. Late in the evening, Marie-Laure descends the ladder and falls asleep in her grandfather’s bed to the sound of her great-uncle working above her.

When she wakes, barn swallows are chirring beneath the eaves and music is raining down through the ceiling.

“Clair de Lune,” a song that makes her think of leaves fluttering, and of the hard ribbons of sand beneath her feet at low tide. The music slinks and rises and settles back to earth, and then the young voice of her long-dead grandfather speaks:
There are ninety-six thousand kilometers of blood vessels in the human body, children! Almost enough to wind around the earth two and a half times . . .

Etienne comes down the seven ladder rungs and squeezes through the back of the wardrobe and takes her hands in his. Before he speaks, she knows what he will say. “Your father asked me to keep you safe.”

“I know.”

“This will be dangerous. It is not a game.”

“I want to do it. Madame would want—”

“Tell it to me. Tell me the whole routine.”

“Twenty-two paces down the rue Vauborel to the rue d’Estrées. Then right for sixteen storm drains. Left on the rue Robert Surcouf. Nine more storm drains to the bakery. I go to the counter and say, ‘One ordinary loaf, please.’ ”

“How will she reply?”

“She will be surprised. But I am supposed to say, ‘One ordinary loaf,’ and she is supposed to say, ‘And how is your uncle?’ ”

“She will ask about me?”

“She is supposed to. That’s how she will know that you are willing to help. It’s what Madame suggested. Part of the protocol.”

“And you will say?”

“I will say, ‘My uncle is well, thank you.’ And I will take the loaf and put it in my knapsack and come home.”

“This will happen even now? Without Madame?”

“Why wouldn’t it?”

“How will you pay?”

“A ration ticket.”

“Do we have any of those?”

“In the drawer downstairs. And you have money, don’t you?”

“Yes. We have some money. How will you come back home?”

“Straight back.”

“By which route?”

“Nine storm drains down the rue Robert Surcouf. Right on the rue d’Estrées. Sixteen drains back to the rue Vauborel. I know it all, Uncle, I have it memorized. I’ve been to the bakery three hundred times.”

“You mustn’t go anywhere else. You mustn’t go to the beaches.”

“I’ll come directly back.”

“You promise?”

“I promise.”

“Then go, Marie-Laure. Go like the wind.”

T
hey ride in boxcars through Lodz, Warsaw, Brest. For miles, out the open door, Werner sees no sign of humans save the occasional railcar capsized beside the tracks, twisted and scarred by some kind of explosion. Soldiers clamber on and off, lean, pale, each carrying a pack, rifle, and steel helmet. They sleep despite noise, despite cold, despite hunger, as though desperate to stay removed from the waking world for as long as possible.

Rows of pines divide endless metal-colored plains. The day is sunless. Neumann Two wakes and urinates out the door and takes the pillbox from his coat and swallows two or three more tablets. “Russia,” he says, though how he has marked the transition, Werner cannot guess.

The air smells of steel.

At dusk the train stops and Neumann Two leads Werner on foot through rows of ruined houses, beams and bricks lying in charred heaps. What walls stand are lined with the black crosshatchings of machine-gun fire. It’s nearly dark when Werner is delivered to a musclebound captain dining alone on a sofa that consists of a wooden frame and springs. In a tin bowl, in the captain’s lap, steams a cylinder of boiled gray meat. He studies Werner awhile without saying anything, wearing a look not of disappointment but tired amusement.

“Not making them any bigger, are they?”

“No, sir.”

“How old are you?”

“Eighteen, sir.”

The captain laughs. “Twelve, more like.” He slices off a circle of meat and chews a long time and finally reaches into his mouth with two fingers and flings away a string of gristle. “You’ll want to acquaint
yourself with the equipment. See if you can do better than the last one they sent.”

Neumann Two leads Werner to the open back of an unwashed Opel Blitz, a cross-country three-ton truck with a wooden shell built onto the back. Dented gasoline cans are strapped to one flank. Bullet trails have left wandering perforations down the other. The leaden dusk drains away. Neumann Two brings Werner a kerosene lantern. “Gadgets are inside.”

Then he vanishes. No explanations. Welcome to war. Tiny moths swirl in the lantern light. Fatigue settles into every part of Werner. Is this Dr. Hauptmann’s idea of a reward or a punishment? He longs to sit on the benches in Children’s House again, to hear Frau Elena’s songs, to feel the heat pumping off the potbelly stove and the high voice of Siegfried Fischer rhapsodizing about U-boats and fighter planes, to see Jutta drawing at the far end of the table, sketching out the thousand windows of her imaginary city.

Inside the truck box lives a smell: clay, spilled diesel mixed with something putrid. Three square windows reflect the lantern light. It’s a radio truck. On a bench along the left wall sit a pair of grimy listening decks the size of bed pillows. A folding RF antenna that can be raised and lowered from inside. Three headsets, a weapon rack, storage lockers. Wax pencils, compasses, maps. And here, in battered cases, wait two of the transceivers he designed with Dr. Hauptmann.

To see them all the way out here soothes him, as though he has turned and found an old friend floating beside him in the middle of the sea. He tugs the first transceiver from its case and unscrews the back plate. Its meter is cracked, several fuses are blown, and the transmitter plug is missing. He fishes for tools, a socket key, copper wire. He looks out the open door across the silent camp to where stars are spun in thousands across the sky.

Do Russian tanks wait out there? Training their guns on the lantern light?

He remembers Herr Siedler’s big walnut Philco. Stare into the wires, concentrate, assess. Eventually a pattern will assert itself.

When he next looks up, a soft glow shows behind a line of distant trees, as if something is burning out there. Dawn. A half mile away, two boys with sticks slouch behind a drove of bony cattle. Werner is opening the second transceiver case when a giant appears in the back of the truck shell.

“Pfennig.”

The man hangs his long arms from the top bar of the truck canopy; he eclipses the ruined village, the fields, the rising sun.

“Volkheimer?”

T
hey stand in the kitchen with the curtains drawn. She still feels the exhilaration of leaving the bakery with the warm weight of the loaf in her knapsack.

Etienne tears apart the bread. “There.” He sets a tiny paper scroll, no bigger than a cowrie shell, in her palm.

“What does it say?”

“Numbers. Lots of them. The first three might be frequencies, I can’t be sure. The fourth—twenty-three hundred—might be an hour.”

“Will we do it now?”

“We’ll wait until it is dark.”

Etienne works wires up through the house, threading them behind walls, connecting one to a bell on the third floor, beneath the telephone table, another to a second bell in the attic, and a third to the front gate. Three times he has Marie-Laure test it: she stands in the street and swings open the outer gate, and from deep inside the house come two faint rings.