All the Light We Cannot See (8 page)

Rainwater purls from cloud to roof to eave. Werner presses his forehead to the window of the dormer and peers through the drops, the roof below just one among a cluster of wet rooftops, hemmed in by the vast walls of the cokery and smelter and gasworks, the winding tower silhouetted against the sky, mine and mill running on and on, acre after acre, beyond his range of sight, to the villages, the cities, the ever-quickening, ever-expanding machine that is Germany. And a million men ready to set down their lives for it.

Good evening, he thinks. Or
heil
Hitler. Everyone is choosing the latter.

T
he war drops its question mark. Memos are distributed. The collections must be protected. A small cadre of couriers has begun moving things to country estates. Locks and keys are in greater demand than ever. Marie-Laure’s father works until midnight, until one. Every crate must be padlocked, every transport manifest kept in a secure place. Armored trucks rumble at the loading docks. There are fossils to be safeguarded, ancient manuscripts; there is jade from the thirteenth century and cavansite from India and rhodochrosite from Colorado; there are pearls, gold nuggets, a sapphire as big as a mouse. There might be, thinks Marie-Laure, the Sea of Flames.

From a certain angle, the spring seems so calm: warm, tender, each night redolent and composed. And yet everything radiates tension, as if the city has been built upon the skin of a balloon and someone is inflating it toward the breaking point.

Bees work the blooming aisles of the Jardin des Plantes. The plane trees drop their seeds and huge drifts of fluff gather on the walkways.

If they attack, why would they attack, they would be crazy to attack.

To retreat is to save lives.

Deliveries stop. Sandbags appear around the museum gates. A pair of soldiers on the roof of the Gallery of Paleontology peer over the gardens with binoculars. But the huge bowl of the sky remains untracked: no zeppelins, no bombers, no superhuman paratroopers, just the last songbirds returning from their winter homes, and the quicksilver winds of spring transmuting into the heavier, greener breezes of summer.

Rumor, light, air. That May seems more beautiful than any Marie-Laure can remember. On the morning of her twelfth birthday, there is no puzzle box in place of the sugar bowl when she wakes; her father
is too busy. But there is a book: the second Braille volume of
Twenty Thousand Leagues Under the Sea,
as thick as a sofa cushion.

A thrill rides all the way into the nails of her fingers. “How—?”

“You’re welcome, Marie.”

The walls of their flat tremble with the dragging of furniture, the packing of trunks, the nailing shut of windows. They walk to the museum, and her father remarks distractedly to the warder who meets them at the door, “They say we are holding the river.”

Marie-Laure sits on the floor of the key pound and opens her book. When part one left off, Professor Aronnax had traveled only six thousand leagues. So many left to go. But something strange happens: the words do not connect. She reads,
During the entire day, a formidable school of sharks followed the ship,
but the logic that is supposed to link each word to the next fails her.

Someone says, “Has the director left?”

Someone else says, “Before the end of the week.”

Her father’s clothes smell of straw; his fingers reek of oil. Work, more work, then a few hours of exhausted sleep before returning to the museum at dawn. Trucks carry off skeletons and meteorites and octopi in jars and herbarium sheets and Egyptian gold and South African ivory and Permian fossils.

On the first of June, airplanes fly over the city, extremely high, crawling through the stratus clouds. When the wind is down and nobody is running an engine nearby, Marie-Laure can stand outside the Gallery of Zoology and hear them: a mile-high purr. The following day, the radio stations begin disappearing. The warders in the guards’ station whack the side of their wireless and tilt it this way and that, but only static comes out of its speaker. As if each relay antenna were a candle flame and a pair of fingers came along and pinched it out.

Those last nights in Paris, walking home with her father at midnight, the huge book clasped against her chest, Marie-Laure thinks she can sense a shiver beneath the air, in the pauses between the chirring of the insects, like the spider cracks of ice when too much weight is set upon it. As if all this time the city has been no more than a scale
model built by her father and the shadow of a great hand has fallen over it.

Didn’t she presume she would live with her father in Paris for the rest of her life? That she would always sit with Dr. Geffard in the afternoons? That every year, on her birthday, her father would present her with another puzzle and another novel, and she would read all of Jules Verne and all of Dumas and maybe even Balzac and Proust? That her father would always hum as he fashioned little buildings in the evenings, and she would always know how many paces from the front door to the bakery (forty) and how many more to the brasserie (thirty-two), and there would always be sugar to spoon into her coffee when she woke?

Bonjour, bonjour.

Potatoes at six o’clock, Marie. Mushrooms at three.

Now? What will happen now?

W
erner wakes past midnight to find eleven-year-old Jutta kneeling on the floor beside his cot. The shortwave is in her lap and a sheet of drawing paper is on the floor beside her, a many-windowed city of her imagination half-articulated on the page.

Jutta removes the earpiece and squints. In the twilight, her wild volutions of hair look more radiant than ever: a struck match.

“In Young Girls League,” she whispers, “they have us making socks. Why so many socks?”

“The Reich must need socks.”

“For what?”

“For feet, Jutta. For the soldiers. Let me sleep.” As though on cue, a young boy—Siegfried Fischer—cries out downstairs once, then twice more, and Werner and Jutta wait to hear Frau Elena’s feet on the stairs and her gentle ministrations and the house fall quiet once more.

“All you want to do are mathematics problems,” Jutta whispers. “Play with radios. Don’t you want to understand what’s happening?”

“What are you listening to?”

She crosses her arms and puts the earphone back and does not answer.

“Are you listening to something you’re not supposed to be listening to?”

“What do you care?”

“It’s dangerous, is why I care.”

She puts her finger in her other ear.

“The other girls don’t seem to mind,” he whispers. “Making socks. Collecting newspapers and all that.”

“We’re dropping bombs on Paris,” she says. Her voice is loud, and he resists an urge to clap his hand over her mouth.

Jutta stares up, defiant. She looks as if she is being raked by some invisible arctic wind. “That’s what I’m listening to, Werner. Our airplanes are bombing Paris.”

A
ll across Paris, people pack china into cellars, sew pearls into hems, conceal gold rings inside book bindings. The museum workspaces are stripped of typewriters. The halls become packing yards, their floors strewn with straw and sawdust and twine.

At noon the locksmith is summoned to the director’s office. Marie-Laure sits cross-legged on the floor of the key pound and tries to read her novel. Captain Nemo is about to take Professor Aronnax and his companions on an underwater stroll through oyster beds to hunt for pearls, but Aronnax is afraid of the prospect of sharks, and though she longs to know what will happen, the sentences disintegrate across the page. Words devolve into letters, letters into unintelligible bumps. She feels as if big mitts have been drawn over each hand.

Down the hall, at the guards’ station, a warder twists the knobs of the wireless back and forth but finds only hiss and crackle. When he shuts it off, quiet closes over the museum.

Please let this be a puzzle, an elaborate game Papa has constructed, a riddle she must solve. The first door, a combination lock. The second, a dead bolt. The third will open if she whispers a magic word through its keyhole. Crawl through thirteen doors, and everything will return to normal.

Out in the city, church bells strike one. One thirty. Still her father does not return. At some point, several distinct thumps travel into the museum from the gardens or the streets beyond, as if someone is dropping sacks of cement mix out of the clouds. With each impact, the thousands of keys in their cabinets quiver on their pegs.

Nobody moves up or down the corridor. A second series of concussions arrives—closer, larger. The keys chime and the floor creaks and she thinks she can smell threads of dust cascading from the ceiling.

“Papa?”

Nothing. No warders, no janitors, no carpenters, no clop-clop-clop of a secretary’s heels crossing the hall.

They can march for days without eating. They impregnate every schoolgirl they meet.

“Hello?” How quickly her voice is swallowed, how empty the halls sound. It terrifies her.

A moment later, there are clanking keys and footfalls and her father’s voice calls her name. Everything happens quickly. He drags open big, low drawers; he jangles dozens of key rings.

“Papa, I heard—”

“Hurry.”

“My book—”

“Better to leave it. It’s too heavy.”

“Leave my book?”

He pulls her out the door and locks the key pound. Outside, waves of panic seem to be traveling the rows of trees like tremors from an earthquake.

Her father says, “Where is the watchman?”

Voices near the curb: soldiers.

Marie-Laure’s senses feel scrambled. Is that the rumble of airplanes? Is that the smell of smoke? Is someone speaking German?

She can hear her father exchange a few words with a stranger and hand over some keys. Then they are moving past the gate onto the rue Cuvier, brushing through what might be sandbags or silent police officers or something else newly planted in the middle of the sidewalk.

Six blocks, thirty-eight storm drains. She counts them all. Because of the sheets of wood veneer her father has tacked over its windows,
their apartment is stuffy and hot. “This will just take a moment, Marie-Laure. Then I’ll explain.” Her father shoves things into what might be his canvas rucksack.
Food,
she thinks, trying to identify everything by its sound. Coffee. Cigarettes. Bread?

Something thumps again and the windowpanes tremble. Their dishes rattle in the cupboards. Automobile horns bleat. Marie-Laure goes to the model neighborhood and runs her fingers over the houses. Still there. Still there. Still there.

“Go to the toilet, Marie.”

“I don’t have to.”

“It may be a while until you can go again.”

He buttons her into her winter overcoat, though it is the middle of June, and they bustle downstairs. On the rue des Patriarches, she hears a distant stamping, as though thousands of people are on the move. She walks beside her father with her cane telescoped in one fist, her other hand on his rucksack, everything disconnected from logic, as in nightmares.

Right, left. Between turns run long stretches of paving stones. Soon they are walking streets, she is sure, that she has never been on, streets beyond the boundaries of her father’s model. Marie-Laure has long since lost count of her strides when they reach a crowd dense enough that she can feel heat spilling off of it.

“It will be cooler on the train, Marie. The director has arranged tickets for us.”

“Can we go in?”

“The gates are locked.”

The crowd gives off a nauseating tension.

“I’m scared, Papa.”

“Keep hold of me.”

He leads her in a new direction. They cross a seething thoroughfare, then go up an alley that smells like a muddy ditch. Always there is the muted rattling of her father’s tools inside his rucksack and the distant and incessant honking of automobile horns.

In a minute they find themselves amid another throng. Voices echo off a high wall; the smell of wet garments crowds her. Somewhere someone shouts names through a bullhorn.

“Where are we, Papa?”

“Gare Saint-Lazare.”

A baby cries. She smells urine.

“Are there Germans, Papa?”

“No,
ma chérie
.”

“But soon?”

“So they say.”

“What will we do when they get here?”

“We will be on a train by then.”

In the space to her right, a child screeches. A man with panic in his voice demands the crowd make way. A woman nearby moans, “Sebastien? Sebastien?” over and over.

“Is it night yet?”

“It’s only now getting dark. Let’s rest a moment. Save our breath.”

Someone says, “The Second Army mauled, the Ninth cut off. France’s best fleets wasted.”

Someone says, “We will be overrun.”

Trunks slide across tiles and a little dog yaps and a conductor’s whistle blows and some kind of big machinery coughs to a start and then dies. Marie-Laure tries to calm her stomach.

“But we have tickets, for God’s sake!” shouts someone behind her.

There is a scuffle. Hysteria ripples through the crowd.

“What does it look like, Papa?”

“What, Marie?”

“The station. The night.”

She hears the sparking of his lighter, the suck and flare of tobacco as his cigarette ignites.

“Let’s see. The whole city is dark. No streetlights, no lights in windows. There are projector lights moving through the sky now and then. Looking for airplanes. There’s a woman in a gown. And another carrying a stack of dishes.”

“And the armies?”

“There are no armies, Marie.”

His hand finds hers. Her fear settles slightly. Rain trickles through a downspout.

“What are we doing now, Papa?”

“Hoping for a train.”

“What is everybody else doing?”

“They’re hoping too.”

A
knock after curfew. Werner and Jutta are doing schoolwork with a half-dozen other children at the long wooden table. Frau Elena pins her party insignia through her lapel before opening the door.