All the Light We Cannot See (7 page)

Laughter.

“I hear they give out poisoned chocolate.”

“I hear they lock up the cripples and morons everywhere they go.”

Each time Marie-Laure relays another rumor to her father, he repeats “Germany” with a question mark after it, as if saying it for the very first time. He says the takeover of Austria is nothing to worry about. He says everyone remembers the last war, and no one is mad enough to go through that again. The director is not worrying, he says, and neither are the department heads, so neither should young girls who have lessons to learn.

It seems true: nothing changes but the day of the week. Every morning Marie-Laure wakes and dresses and follows her father through Entrance #2 and listens to him greet the night guard and the warder.
Bonjour bonjour. Bonjour bonjour.
The scientists and librarians still collect their keys in the mornings, still study their ancient elephants’ teeth, their exotic jellyfish, their herbarium sheets. The secretaries still talk about fashion; the director still arrives in a two-tone Delage limousine; and every noon the African vendors still wheel their sandwich carts quietly down the halls with their whispers of rye and egg, rye and egg.

Marie-Laure reads Jules Verne in the key pound, on the toilet, in the corridors; she reads on the benches of the Grand Gallery and out along the hundred gravel paths of the gardens. She reads the first half of
Twenty Thousand Leagues Under the Sea
so many times, she practically memorizes it.

The sea is everything. It covers seven tenths of the globe . . . The sea is only a receptacle for all the prodigious, supernatural things that exist inside it. It is only movement and love; it is the living infinite.

At night, in her bed, she rides in the belly of Captain Nemo’s
Nautilus,
below the gales, while canopies of coral drift overhead.

Dr. Geffard teaches her the names of shells—
Lambis lambis, Cypraea moneta, Lophiotoma acuta—
and lets her feel the spines and apertures and whorls of each in turn. He explains the branches of marine evolution and the sequences of the geologic periods; on her best days, she glimpses the limitless span of millennia behind her: millions of years, tens of millions.

“Nearly every species that has ever lived has gone extinct, Laurette. No reason to think we humans will be any different!” Dr. Geffard pronounces this almost gleefully and pours wine into his glass, and she imagines his head as a cabinet filled with ten thousand little drawers.

All summer the smells of nettles and daisies and rainwater purl through the gardens. She and her father cook a pear tart and burn it by accident, and her father opens all the windows to let out the smoke,
and she hears violin music rise from the street below. And yet by early autumn, once or twice a week, at certain moments of the day, sitting out in the Jardin des Plantes beneath the massive hedges or reading beside her father’s workbench, Marie-Laure looks up from her book and believes she can smell gasoline under the wind. As if a great river of machinery is steaming slowly, irrevocably, toward her.

M
embership in the State Youth becomes mandatory. The boys in Werner’s Kameradschaften are taught parade maneuvers and quizzed on fitness standards and required to run sixty meters in twelve seconds. Everything is glory and country and competition and sacrifice.

Live faithfully,
the boys sing as they troop past the edges of the colony.
Fight bravely and die laughing.

Schoolwork, chores, exercise. Werner stays up late listening to his radio or driving himself through the complicated math he copied out of
The Principles of Mechanics
before it was confiscated. He yawns at meals, is short-tempered with the younger children. “Are you feeling okay?” asks Frau Elena, peering into his face, and Werner looks away, saying, “Fine.”

Hertz’s theories are interesting but what he loves most is building things, working with his hands, connecting his fingers to the engine of his mind. Werner repairs a neighbor’s sewing machine, the Children’s House grandfather clock. He builds a pulley system to wind laundry from the sunshine back indoors, and a simple alarm made from a battery, a bell, and wire so that Frau Elena will know if a toddler has wandered outside. He invents a machine to slice carrots: lift a lever, nineteen blades drop, and the carrot falls apart into twenty neat cylinders.

One day a neighbor’s wireless goes out, and Frau Elena suggests Werner have a look. He unscrews the back plate, waggles the tubes back and forth. One is not seated properly, and he fits it back into its groove. The radio comes back to life, and the neighbor shrieks with delight. Before long, people are stopping by Children’s House every week to ask for the radio repairman. When they see thirteen-year-old
Werner come down from the attic, rubbing his eyes, shocks of white hair sticking up off his head, homemade toolbox hanging from his fist, they stare at him with the same skeptical smirk.

The older sets are the easiest to fix: simpler circuitry, uniform tubes. Maybe it’s wax dripping from the condenser or charcoal built up on a resistor. Even in the newest sets, Werner can usually puzzle out a solution. He dismantles the machine, stares into its circuits, lets his fingers trace the journeys of electrons. Power source, triode, resistor, coil. Loudspeaker. His mind shapes itself around the problem, disorder becomes order, the obstacle reveals itself, and before long the radio is fixed.

Sometimes they pay him a few marks. Sometimes a coal mother cooks him sausages or wraps biscuits in a napkin to take home to his sister. Before long Werner can draw a map in his head of the locations of nearly every radio in their district: a homemade crystal set in the kitchen of a druggist; a handsome ten-valve radiogram in the home of a department head that was giving his fingers a shock every time he tried to change the channel. Even the poorest pit houses usually possess a state-sponsored Volksemfänger VE301, a mass-produced radio stamped with an eagle and a swastika, incapable of shortwave, marked only for German frequencies.

Radio: it ties a million ears to a single mouth. Out of loudspeakers all around Zollverein, the staccato voice of the Reich grows like some imperturbable tree; its subjects lean toward its branches as if toward the lips of God. And when God stops whispering, they become desperate for someone who can put things right.

Seven days a week the miners drag coal into the light and the coal is pulverized and fed into coke ovens and the coke is cooled in huge quenching towers and carted to the blast furnaces to melt iron ore and the iron is refined into steel and cast into billets and loaded onto barges and floated off into the great hungry mouth of the country.
Only through the hottest fires,
whispers the radio,
can purification be achieved. Only through the harshest tests can God’s chosen rise.

Jutta whispers, “A girl got kicked out of the swimming hole today.
Inge Hachmann. They said they wouldn’t let us swim with a half-breed. Unsanitary. A half-breed, Werner. Aren’t we half-breeds too? Aren’t we half our mother, half our father?”

“They mean half-Jew. Keep your voice down. We’re not half-Jews.”

“We must be half something.”

“We’re whole German. We’re not half anything.”

Herribert Pomsel is fifteen years old now, off in a miners’ dormitory, working the second shift as a firedamper, and Hans Schilzer has become the oldest boy in the house. Hans does push-ups by the hundreds; he plans to attend a rally in Essen. There are fistfights in the alleys, rumors that Hans has set a car on fire. One night Werner hears him downstairs, shouting at Frau Elena. The front door slams; the children toss in their beds; Frau Elena paces the parlor, her slippers whispering left, whispering right. Coal cars grind past in the wet dark. Machinery hums in the distance: pistons throbbing, belts turning. Smoothly. Madly.

N
ovember 1939. A cold wind sends the big dry leaves of plane trees rolling down the gravel lanes of the Jardin des Plantes. Marie-Laure is rereading
Twenty Thousand Leagues—I could make out long ribbons of sea wrack, some globular and others tubular, laurenciae, cladostephae with their slender foliage
—not far from the rue Cuvier gate when a group of children comes tramping through the leaves.

A boy’s voice says something; several other boys laugh. Marie-Laure lifts her fingers from her novel. The laughter spins, turns. The first voice is suddenly right beside her ear. “They’re mad for blind girls, you know.”

His breath is quick. She extends her arm into the space beside her but contacts nothing.

She cannot say how many others are with him. Three or four, perhaps. His is the voice of a twelve- or thirteen-year-old. She stands and hugs her huge book against her chest, and she can hear her cane roll along the edge of the bench and clatter to the ground.

Someone else says, “They’ll probably take the blind girls before they take the gimps.”

The first boy moans grotesquely. Marie-Laure raises her book as if to shield herself.

The second boy says, “Make them do things.”

“Nasty things.”

An adult’s voice in the distance calls out, “Louis, Peter?”

“Who are you?” hisses Marie-Laure.

“Bye-bye, blind girl.”

Then: quiet. Marie-Laure listens to the trees rustle; her blood
swarms. For a long and panicked minute, she crawls among the leaves at the foot of the bench until her fingers find her cane.

Stores sell gas masks. Neighbors tape cardboard to their windows. Each week fewer visitors come to the museum.

“Papa?” Marie-Laure asks. “If there’s a war, what will happen to us?”

“There won’t be a war.”

“But what if there is?”

His hand on her shoulder, the familiar clanking of keys on his belt. “Then we will be fine,
ma chérie.
The director has already filed a dispensation to keep me out of the reserves. I’m not going anywhere.”

But she hears the way he turns newspaper pages, snapping them with urgency. He lights cigarette after cigarette; he hardly stops working. Weeks pass and the trees go bare and her father doesn’t ask her to walk in the gardens once. If only they had an impregnable submarine like the
Nautilus.

The smoky voices of office girls swirl past the open window of the key pound. “They creep into apartments at night. They booby-trap kitchen cupboards, toilet bowls, brassieres. Go to open your panty drawer, and you get your fingers blown off.”

She has nightmares. Silent Germans row up the Seine in synchrony; their skiffs glide as if through oil. They fly noiselessly beneath the bridge trestles; they have beasts with them on chains; their beasts leap out of the boats and sprint past the massifs of flowers, down the rows of hedges. They sniff the air on the steps to the Grand Gallery. Slavering. Ravenous. They surge into the museum, scatter into the departments. The windows go black with blood.

Dear Professor I dont know if youre getting these letters or if the radio station will forward this or is there even a radio station? We havent heard you in two months at least. Did you stop broadcasting or maybe is the problem ours? Theres a new radio transmitter in Brandenburg called the Deutschlandsender 3 my brother says it is three hundred thirty-something meters tall the second-tallest man-made construction in the world. It pushes basically everything else off the dial. Old Frau Stresemann, shes one of our neighbors, she says she can hear Deutschlandsender broadcasts in her tooth fillings. My brother said its possible if you have an antenna and a rectifier and something to serve as a speaker. He said you can use a section of wire fence to pick up radio signals, so maybe the silver in a tooth can too. I like to think about that. Dont you Professor? Songs in your teeth? Frau Elena says we have to come straight home from school now. She says were not Jews but were poor and thats almost as dangerous. Its a criminal offense now to tune into a foreign broadcast. You can get hard labor for it, things like breaking rocks fifteen hours a day. Or making nylon stockings or going down in the pits. No one will help me mail this letter not even my brother so I will do it myself.

H
is fourteenth birthday arrives in May. It’s 1940 and no one laughs at the Hitler Youth now. Frau Elena prepares a pudding and Jutta wraps a piece of quartz in newspaper and the twins, Hannah and Susanne Gerlitz, march around the room impersonating soldiers. A five-year-old—Rolf Hupfauer—sits in the corner of the sofa, eyelids slipping heavily over his eyes. A new arrival—a baby girl—sits in Jutta’s lap and gums her fingers. Out the window, beyond the curtains, the flame atop the waste stack, high in the distance, flaps and shivers.

The children sing and devour the pudding, Frau Elena says, “Time’s up,” and Werner switches off his receiver. Everyone prays. His whole body feels heavy as he carries the radio up to the dormer. In the alleys, fifteen-year-old boys are making their way toward mine elevators, queuing up with their helmets and lamps outside the gates. He tries to imagine their descent, sporadic and muted lights passing and receding, cables rattling, everyone quiet, sinking down to that permanent darkness where men claw at the earth with a half mile of rock hunched on top of them.

One more year. Then they’ll give him a helmet and lamp and stuff him into a cage with the others.

It has been months since he last heard the Frenchman on the shortwave. A year since he held that water-stained copy of
The Principles of Mechanics.
Not so long ago he let himself dream of Berlin and its great scientists: Fritz Haber, inventor of fertilizer; Hermann Staudinger, inventor of plastics. Hertz, who made the invisible visible. All the great men doing things out there.
I believe in you,
Frau Elena used to say.
I think you’ll do something great.
Now, in his nightmares, he walks the tunnels of the mines. The ceiling is smooth and black; slabs of it
descend over him as he treads. The walls splinter; he stoops, crawls. Soon he cannot raise his head, move his arms. The ceiling weighs ten trillion tons; it gives off a permeating cold; it drives his nose into the floor. Just before he wakes, he feels a splintering at the back of his skull.