All the Light We Cannot See (31 page)

At Madame’s suggestion, they lie down in the weeds, and Marie-Laure listens to honeybees mine the flowers and tries to imagine their journeys as Etienne described them: each worker following a rivulet of odor, looking for ultraviolet patterns in the flowers, filling baskets on her hind legs with pollen grains, then navigating, drunk and heavy, all the way home.

How do they know what parts to play, those little bees?

Madame Manec takes off her shoes and lights a cigarette and lets out a contented groan. Insects drone: wasps, hoverflies, a passing dragonfly—Etienne has taught Marie-Laure to distinguish each by its sound.

“What’s a roneo machine, Madame?”

“Something to help make pamphlets.”

“What does it have to do with that woman we met?”

“Nothing to trouble yourself over, dear.”

Horses nicker, and the wind comes off the sea gentle and cool and full of smells.

“Madame? What do I look like?”

“You have many thousands of freckles.”

“Papa used to say they were like stars in heaven. Like apples in a tree.”

“They are little brown dots, child. Thousands of little brown dots.”

“That sounds ugly.”

“On you, they are beautiful.”

“Do you think, Madame, that in heaven we will really get to see God face-to-face?”

“We might.”

“What if you’re blind?”

“I’d expect that if God wants us to see something, we’ll see it.”

“Uncle Etienne says heaven is like a blanket babies cling to. He says people have flown airplanes ten kilometers above the earth and found no kingdoms there. No gates, no angels.”

Madame Manec cracks off a ragged chain of coughs that sends tremors of fear through Marie-Laure. “You are thinking of your father,” she finally says. “You have to believe your father will return.”

“Don’t you ever get tired of believing, Madame? Don’t you ever want proof?”

Madame Manec rests a hand on Marie-Laure’s forehead. The thick hand that first reminded her of a gardener’s or a geologist’s. “You must never stop believing. That’s the most important thing.”

The Queen Anne’s lace sways on its taproots, and the bees do their steady work. If only life were like a Jules Verne novel, thinks Marie-Laure, and you could page ahead when you most needed to, and learn what would happen. “Madame?”

“Yes, Marie.”

“What do you think they eat in heaven?”

“I’m not so sure they need to eat in heaven.”

“Not eat! You would not like that, would you?”

But Madame Manec does not laugh the way Marie-Laure expects her to. She doesn’t say anything at all. Her breath clatters in and out.

“Did I offend you, Madame?”

“No, child.”

“Are we in danger?”

“No more than any other day.”

The grasses toss and shimmy. The horses nicker. Madame Manec says, almost whispering, “Now that I think about it, child, I expect heaven is a lot like this.”

W
erner spends the last of his money on train fare. The afternoon is bright enough, but Berlin seems not to want to accept the sunlight, as though its buildings have become gloomier and dirtier and more splotchy in the months since he last visited. Though perhaps what has changed are the eyes that see it.

Rather than ring the bell right away, Werner laps the block three times. The apartment windows are uniformly dark; whether unlit or blacked out, he cannot tell. At a certain point on each circuit, he passes a storefront filled with undressed mannequins, and though he knows each time that it is merely a trick of the light, he cannot stop his eyes from seeing them as corpses strung up by wires.

Finally he rings the bell for #2. No one buzzes down, and he notices from the nameplates that they are no longer in #2. Their name is on #5.

He rings. A returning buzz issues from inside.

The lift is out of order, so he walks up.

The door opens. Franny. With the downy face and swinging flaps of skin under her arms. She gives him a look that one trapped person gives another; then Frederick’s mother swishes out of a side room wearing tennis clothes. “Why, Werner—”

She loses herself momentarily in troubled reverie, surrounded by sleek furniture, some of it wrapped in thick wool blankets. Does she blame him? Does she think he is partially responsible? Perhaps he is? But then she comes awake and kisses him on both cheeks, and her bottom lip quivers lightly. As if his materialization is preventing her from keeping certain shadows at bay.

“He won’t know you. Don’t try to make him remember. It will only
upset him. But you are here. I suppose that’s something. I was about to go, very sorry I cannot stay. Show him in, Franny.”

The maid leads him into a grand drawing room, its ceilings aswirl with plaster flourishes, its walls painted a delicate eggshell blue. No paintings have been hung yet and the shelves wait empty and cardboard boxes stand open on the floor. Frederick sits at a glass-topped table at the back of the room, both table and boy looking small amid the clutter. His hair has been combed hard to one side, and his loose cotton shirt has bunched up behind his shoulders so that his collar is skewed. His eyes do not rise to meet his visitor’s.

He wears his same old black-framed glasses. Someone has been feeding him, and the spoon rests on the glass table and blobs of porridge cling to Frederick’s whiskers and his place mat, which is a woolen thing featuring happy pink-cheeked children in clogs. Werner cannot look at it.

Franny bends and pushes three more spoonfuls into Frederick’s mouth and wipes his chin, folds up his place mat, and walks through a swinging door into what must be a kitchen. Werner stands with his hands crossed in front of his belt.

One year. More than that. Frederick has to shave now, Werner realizes. Or someone has to shave him.

“Hello, Frederick.”

Frederick rolls his head back and looks toward Werner through his smudged lenses down the line of his nose.

“I’m Werner. Your mother said you might not remember? I’m your friend from school.”

Frederick seems not so much to be looking at Werner as through him. On the table is a stack of paper, on top of which a thick and clumsy spiral has been drawn by a heavy hand.

“Did you make this?” Werner lifts the topmost drawing. Beneath that page is another, then another, thirty or forty spirals, each taking up a whole sheet, all in the same severe lead. Frederick drops his chin to his chest, possibly a nod. Werner glances around: a trunk, a box of linens, the pale blue of the walls and the rich white of the wainscot.
Late sunlight glides through tall French windows, and the air tastes of silver polish. This fifth-floor apartment is indeed nicer than the second-floor one—the ceilings high and decorated with punched tin and stucco flourishes: fruits, flowers, banana leaves.

Frederick’s lip is curled and his upper teeth show and a string of drool swings from his chin and touches the paper. Werner, unable to bear it a second longer, calls for the maid. Franny peeks out of the swinging door. “Where,” he asks, “is that book? The one with the birds? In the gold slipcover?”

“I don’t think we ever had a book like that.”

“No, you did—”

Franny only shakes her head and laces her fingers across her apron.

Werner lifts the flaps of boxes, peering in. “Surely it’s around here.”

Frederick has begun to draw a new spiral on a blank sheet.

“Maybe in this?”

Franny stands beside Werner and plucks his wrist off the crate he is about to open. “I do not think,” she repeats, “we ever had a book like that.”

Werner’s whole body has started to itch. Out the huge windows, the lindens toss back and forth. The light fades. An unlit sign atop a building two blocks away reads,
Berlin smokes Junos
.

Franny has already retreated back into the kitchen.

Werner watches Frederick create another crude spiral, the pencil locked in his fist.

“I’m leaving Schulpforta, Frederick. They’re changing my age and sending me to the front.”

Frederick lifts the pencil, studying, then reapplies it.

“Less than a week.”

Frederick works his mouth as if to chew air. “You look pretty,” he says. He does not look directly at Werner, and his words are close to moans. “You look pretty, very pretty, Mama.”

“I’m not your mama,” hisses Werner. “Come on, now.” Frederick’s expression is entirely without artifice. Somewhere in the kitchen, the maid is listening. There is no other sound, not of traffic or airplanes
or trains or radios or the specter of Frau Schwartzenberger rattling the cage of the elevator. No chanting no singing no silk banners no bands no trumpets no mother no father no slick-fingered commandant dragging a finger across his back. The city seems utterly still, as though everyone is listening, waiting for someone to slip.

Werner looks at the blue of the walls and thinks of
Birds of America,
yellow-crowned heron, Kentucky warbler, scarlet tanager, bird after glorious bird, and Frederick’s gaze remains stuck in some terrible middle ground, each eye a stagnant pool into which Werner cannot bear to look.

I
n late June 1942, for the first time since her fever, Madame Manec is not in the kitchen when Marie-Laure wakes. Could she already be at the market? Marie-Laure taps on her door, waits a hundred heartbeats. She opens the rear door and calls into the alley. Glorious warm June dawn. Pigeons and cats. Screech of laughter from a neighboring window.

“Madame?”

Her heart accelerates. She taps again on Madame Manec’s door.

“Madame?”

When she lets herself in, she hears the rattle first. As though a weary tide stirs stones in the old woman’s lungs. Sour odors of sweat and urine rise from the bed. Her hands find Madame’s face, and the old woman’s cheek is so hot that Marie-Laure’s fingers recoil as though scalded. She scrambles upstairs, stumbling, shouting, “Uncle! Uncle!” the whole house turning scarlet in her mind, roof turning to smoke, flames chewing through walls.

Etienne crouches on his popping knees beside Madame, then scurries to the telephone and speaks a few words. He returns to Madame Manec’s bedside at a trot. Over the next hour the kitchen fills with women, Madame Ruelle, Madame Fontineau, Madame Hébrard. The first floor becomes too crowded; Marie-Laure paces the staircase, up and down, up and down, as though working her way up and down the spire of an enormous seashell. The doctor comes and goes, the occasional woman closes her bony hand around Marie-Laure’s shoulder, and at exactly two o’clock by the bonging of the cathedral bells, the doctor returns with a man who says nothing beyond good afternoon, who smells of dirt and clover, who lifts
Madame Manec and carries her out into the street and sets her on a horse cart as though she is a bag of milled oats and the horse’s shoes clop away and the doctor strips the bedsheets and Marie-Laure finds Etienne in the corner of the kitchen whispering: Madame is dead, Madame is dead.

A
presence, an inhalation. Marie-Laure trains all of her senses on the entryway three flights below. The outer gate sighs shut, then the front door closes.

In her head, her father reasons:
The gate closed before the door, not after. Which means, whoever it is, he closed the gate first, then shut the door. He’s inside.

All the hairs on the back of her neck stand up.

Etienne knows he would have triggered the bell, Marie. Etienne would be calling for you already.

Boots in the foyer. Fragments of dishes crunching underfoot.

It is not Etienne.

The distress is so acute, it is almost unbearable. She tries to settle her mind, tries to focus on an image of a candle flame burning at the center of her rib cage, a snail drawn up into the coils of its shell, but her heart bangs in her chest and pulses of fear cycle up her spine, and she is suddenly uncertain whether a sighted person in the foyer can look up the curves of the stairwell and see all the way to the third floor. She remembers her great-uncle said that they would need to watch out for looters, and the air stirs with phantom blurs and rustles, and Marie-Laure imagines charging past the bathroom into the cobwebbed sewing room here on the third floor and hurling herself out the window.

Boots in the hall. The slide of a dish across the floor as it is kicked. A fireman, a neighbor, some German soldier hunting food?

A rescuer would be calling for survivors,
ma chérie.
You have to move. You have to hide.

The footfalls travel toward Madame Manec’s room. They go slowly; maybe it’s dark. Could it already be night?

Four or five or six or a million heartbeats roll by. She has her cane, Etienne’s coat, the two cans, the knife, the brick. Model house in her dress pocket. The stone inside that. Water in the tub at the end of the hall.

Move. Go.

A pot or pan, presumably knocked off its hook in the bombing, wobbles on the kitchen tiles. He exits the kitchen. Returns to the foyer.

Stand,
ma chérie.
Stand up now.

She stands. With her right hand, she finds the railing. He is at the base of the stairs. She almost cries out. But then she recognizes—just as he sets his foot on the first stair—that his stride is out of rhythm. One-pause-two one-pause-two. It is a walk she has heard before. The limp of a German sergeant major with a dead voice.

Go.

Marie-Laure takes each step as deliberately as she can. Grateful now that she does not have her shoes. Her heart knocks so furiously against the cage of her chest that she feels certain the man below will hear it.

Up to the fourth floor. Each step a whisper. The fifth. On the sixth-floor landing, she pauses beneath the chandelier and tries to listen. She hears the German climb three or four more stairs and take a brief asthmatic pause. Then on again. A wooden step complains beneath his weight; it sounds to her like a small animal being crushed.

He stops on what she believes is the third-floor landing. Where she was just sitting. Her warmth still there on the wood floor beside the telephone table. Her dissipated breath.