All the Light We Cannot See (41 page)

Von Rumpel walks on wobbly legs through a swinging door. The waiter sets a telephone on a table and retreats.

“Sergeant Major? This is Jean Brignon.” The name conjures nothing in von Rumpel’s memory.

“I have information about the locksmith. Whom you asked about last year?”

“LeBlanc.”

“Yes, Daniel LeBlanc. But my cousin, sir. Do you remember? You offered to help? You said that if I found information, you could help him?”

Three couriers, two found, one last puzzle to solve. Von Rumpel dreams of the goddess almost every night: hair made of flames, fingers made of roots. Madness. Even as he stands at the telephone, ivy twines around his neck, climbs into his ears.

“Yes, your cousin. What have you discovered?”

“LeBlanc was accused of conspiracy, something to do with a château in Brittany. Arrested in January 1941 on a tip from a local. They found drawings, skeleton keys. He was also photographed taking measurements in Saint-Malo.”

“A camp?”

“I have not been able to find out. The system is rather elaborate.”

“What about the informer?”

“A Malouin named Levitte. First name Claude.”

Von Rumpel thinks. The blind daughter, the flat on rue des Patriarches. Vacant since June 1940 while the Natural History Museum pays the rent. Where would you run, if you had to run somewhere? If you had something valuable to carry? With a blind daughter in tow? Why Saint-Malo unless someone you trusted lived there?

“My cousin,” Jean Brignon is saying. “You’ll help?”

“Thank you very much,” says von Rumpel, and sets the receiver back in its cradle.

T
he last days of May 1944 in Saint-Malo feel to Marie-Laure like the last days of May 1940 in Paris: huge and swollen and redolent. As if every living thing rushes to establish a foothold before some cataclysm arrives. The air on the way to Madame Ruelle’s bakery smells of myrtle and magnolia and verbena; wisteria vines erupt in blossom; everywhere hang arcades and curtains and pendants of flowers.

She counts storm drains: at twenty-one she passes the butcher, the sound of a hose splashing onto tile; at twenty-five she is at the bakery. She places a ration coupon on the counter. “One ordinary loaf, please.”

“And how is your uncle?” The words are the same, but the voice of Madame Ruelle is different. Galvanized.

“My uncle is well, thank you.”

Madame Ruelle does something she has never done: she reaches across the counter and cups Marie-Laure’s face in her floury palms. “You amazing child.”

“Are you crying, Madame? Is everything all right?”

“Everything is wonderful, Marie-Laure.” The hands withdraw; the loaf comes to her: heavy, warm, larger than normal. “Tell your uncle that the hour has come. That the mermaids have bleached hair.”

“The mermaids, Madame?”

“They are coming, dear. Within the week. Put out your hands.” From across the counter comes a wet, cool cabbage, as big as a cannonball. Marie-Laure can hardly fit it into the mouth of her knapsack.

“Thank you, Madame.”

“Now get home.”

“Is it clear ahead?”

“As water from the rock. Nothing in your way. Today is a beautiful day. A day to remember.”

The hour has come.
Les sirènes ont les cheveux décolorés.
Her uncle has been hearing rumors on his radio that across the Channel, in England, a tremendous armada is gathering, ship after ship being requisitioned—fishing vessels and ferries retrofitted, equipped with weapons: five thousand boats, eleven thousand airplanes, fifty thousand vehicles.

At the intersection with the rue d’Estrées, she turns not left, toward home, but right. Fifty meters to the ramparts, a hundred or so more along the base of the walls; from her pocket she pulls Harold Bazin’s iron key. The beaches have been closed for several months, studded with mines and walled off with razor wire, but here in the old kennel, out of sight of everyone, Marie-Laure can sit among her snails and dream herself into the mind of the great marine biologist Aronnax, both guest of honor and prisoner on Captain Nemo’s great machine of curiosity, free of nations and politics, cruising through the kaleidoscopic wonders of the sea. Oh, to be free! To lie once more in the Jardin des Plantes with Papa. To feel his hands on hers, to hear the petals of the tulips tremble in the wind. He made her the glowing hot center of his life; he made her feel as if every step she took was important.

Are you still there, Papa?

They are coming, dear. Within the week.

T
hey search day and night. Saint-Malo, Dinard, Saint-Servan, Saint-Vincent. Neumann One coaxes the battered Opel down streets so narrow that the sides of the truck shell scrape against walls. They pass little gray crêperies with their windows smashed and shuttered boulangeries and empty bistros and hillsides full of conscripted Russians pouring cement and heavy-boned prostitutes carrying water from wells and they find no broadcasts of the sort the colonel’s aides described. Werner can receive the BBC from the north and propaganda stations from the south; sometimes he manages to snare random flits of Morse code. But he hears no birth or wedding or death announcements, no numbers, no music.

The room Werner and Bernd are given, on the top floor of a requisitioned hotel in the city within the walls, is like a place that time wants no part of: three-hundred-year-old stucco quatrefoils and palmate capitals and spiraling horns of fruit festoon the ceiling. At night the dead girl from Vienna strides the halls. She does not look at Werner as she passes his open door, but he knows it is he she is hunting.

The hotelkeeper wrings his hands while Volkheimer paces the lobby. Airplanes crawl across the sky, it seems to Werner, incredibly slowly. As if at any moment one will stall and drop into the sea.

“Ours?” asks Neumann One. “Or theirs?”

“Too high to tell.”

Werner walks the upstairs corridors. On the top floor, in what is perhaps the hotel’s nicest room, he stands in a hexagonal bathtub and wipes grime off a window with the heel of his palm. A few airborne seeds swirl in the wind, then drop into the chasm of shadow between houses. Above him, in the dimness, a nine-foot-long queen bee, with multiple eyes and golden fuzz on her abdomen, curls across the ceiling.

Dear Jutta,

Sorry I have not written these past months. The fever is mostly gone now and you should not worry. I have been feeling very clearheaded lately and what I want to write about today is the sea. It contains so many colors. Silver at dawn, green at noon, dark blue in the evening. Sometimes it looks almost red. Or it will turn the color of old coins. Right now the shadows of clouds are dragging across it, and patches of sunlight are touching down everywhere. White strings of gulls drag over it like beads.

It is my favorite thing, I think, that I have ever seen. Sometimes I catch myself staring at it and forget my duties. It seems big enough to contain everything anyone could ever feel.

Say hello to Frau Elena and the children who are left.

T
onight they work a section of the old city tucked against the southern ramparts. Rain falls so lightly that it seems indistinguishable from fog. Werner sits in the back of the Opel; Volkheimer drowses on the bench behind him. Bernd is up on the parapet with the first transceiver under a poncho. He has not keyed his handset in hours, which means he is asleep. The only light comes from the amber filament inside Werner’s signal meter.

The spectrum is all static and then it is not.

Madame Labas sends word that her daughter is pregnant. Monsieur Ferey sends love to his cousins at Saint-Vincent.

A great gust of static shears past. The voice is like something from a long-ago dream. A half dozen more words flutter through Werner in that Breton accent:
Next broadcast Thursday 2300. Fifty-six seventy-two something
 . . . memory coming at Werner like a six-car train out of the darkness, the quality of the transmission and the tenor of the voice matching in every respect the broadcasts of the Frenchman he used to hear, and then a piano plays three single notes, followed by a pair, the chords rising peacefully, each a candle leading deeper into a forest . . . The recognition is immediate. It is as if he has been drowning for as long as he can remember and somebody has fetched him up for air.

Just behind Werner, Volkheimer’s eyelids remain closed. Through the separator between the shell and cab, he can see the motionless shoulders of the Neumanns. Werner covers the meter with his hand. The song unspools, grows louder, and he waits for Bernd to key his microphone, to say he has heard.

But nothing comes. Everyone is asleep. And yet hasn’t the little shell in which he and Volkheimer sit gone electric?

Now the piano makes a long, familiar run, the pianist playing different scales with each hand—what sounds like three hands, four—the harmonies like steadily thickening pearls on a strand, and Werner sees six-year-old Jutta lean toward him, Frau Elena kneading bread in the background, a crystal radio in his lap, the cords of his soul not yet severed.

The piano rills through its finishing measures, and then the static wallops back.

Did they hear? Can they hear his heart hammering right now against his ribs? There’s the rain, falling lightly past the high houses. There’s Volkheimer, his chin resting on the acreage of his chest. Frederick said we don’t have choices, don’t own our lives, but in the end it was Werner who pretended there were no choices, Werner who watched Frederick dump the pail of water at his feet—
I will not—
Werner who stood by as the consequences came raining down. Werner who watched Volkheimer wade into house after house, the same ravening nightmare recurring over and over and over.

He removes the headset and eases past Volkheimer to open the back door. Volkheimer opens one eye, huge, golden, lionlike. He says, “
Nichts? 
”

Werner looks up at the stone houses arrayed wall to wall, tall and aloof, their faces damp, their windows dark. No lamplight anywhere. No antennas. The rain falls so softly, almost soundlessly, but to Werner it roars.

He turns. “
Nichts,
” he says. Nothing.

A
n Austrian antiair lieutenant installs a detachment of eight at the Hotel of Bees. Their cook heats oatmeal and bacon in the hotel kitchen while the other seven take apart walls on the fourth floor with sledgehammers. Volkheimer chews slowly, glancing up every now and then to study Werner.

Next broadcast Thursday 2300.

Werner heard the voice everyone was listening for, and what did he do? Lied. Committed treason. How many men might be in danger because of this? And yet when Werner remembers hearing that voice, when he remembers that song flooding his head, he trembles with joy.

Half of northern France is in flames. The beaches are devouring men—Americans, Canadians, Brits, Germans, Russians—and all through Normandy, heavy bombers pulverize country towns. But out here in Saint-Malo, the dune grass grows long and blue; German sailors still run drills in the harbor; gunners still stockpile ammunition in the tunnels beneath the fort at La Cité.

The Austrians at the Hotel of Bees use a crane to lower an 88-millimeter cannon onto a bastion in the ramparts. They bolt the gun to a cruciform mount and cover it with camouflage tarps. Volkheimer’s crew works two nights in a row, and Werner’s memory plays tricks on him.

Madame Labas sends word that her daughter is pregnant.

So how, children, does the brain, which lives without a spark of light, build for us a world full of light?

If the Frenchman employs the same transmitter that used to reach all the way to Zollverein, the antenna will be big. Or else there will be
hundreds of yards of wire. Either way: something high, something sure to be visible.

On the third night after hearing the broadcast—Thursday—Werner stands in the hexagonal bathtub beneath the queen bee. With the shutters pushed open, he can look to his left over a jumble of slate rooftops. Shearwaters skim the ramparts; sleeves of vapor enshroud the steeple.

Whenever Werner contemplates the old city, it is the chimneys that strike him. They are huge, stacked in rows of twenty and thirty along each block. Not even Berlin had chimneys like that.

Of course. The Frenchman must be using a chimney.

He hurries down through the lobby and paces the rue des Forgeurs, then the rue de Dinan. Staring up at shutters, gutter lines, looking for cables bracketed to bricks, anything that might give the transmitter away. He walks up and down until his neck aches. He has been gone too long. He will be upbraided. Volkheimer already senses something amiss. But then, right at 2300 hours, Werner sees it, hardly one block from where they parked the Opel: an antenna sliding up alongside a chimney. Not much wider than a broomstick.

It rises perhaps twelve meters and then unfolds as if by magic into a simple
T
.

A high house on the edge of the sea. A spectacularly good location from which to broadcast. From street level, the antenna is all but invisible. He hears Jutta’s voice:
I bet he does these broadcasts from a huge mansion, big as this whole colony, a place with a thousand rooms and a thousand servants.
The house is tall and narrow, eleven windows in its facade. Splotched with orange lichen, its foundation furred with moss. Number 4 on the rue Vauborel.

Open your eyes and see what you can with them before they close forever.

He walks fast to the hotel, head down, hands in his pockets.

L
evitte the perfumer is flabby and plump, basted in his own self-importance. While he talks, von Rumpel struggles to keep his balance; the intermingling of so many odors in this shop overwhelms. In the course of the past week, he has had to make a show of trips to a dozen different garden estates up and down the Breton coast, forcing his way into summer homes to hunt down paintings and sculptures that either do not exist or do not interest him. All of it to justify his presence here.