All the Light We Cannot See: A Novel (24 page)

Frederick says, “Are you all right?”

“Fine, it’s delicious,” but Werner feels something inside him screw tighter, tighter.

On the way home, Frederick and his mother walk ahead. She loops her slender arm through his and talks to him in a low voice. Fredde this, Fredde that. The street is empty, the windows dead, the electric signs switched off. Innumerable shops, millions sleeping in beds around them, and yet where are they all? As they reach Frederick’s block, a woman in a dress, leaning against a building, bends over and vomits on the sidewalk.

In the town house, Frederick pulls on pajamas made of jelly-green silk and folds his glasses on the nightstand and climbs barefoot into his brass childhood bed. Werner gets into a trundle bed that Frederick’s mother has apologized for three separate times, although its mattress is more comfortable than any he has slept on in his life.

The building falls quiet. Model automobiles glimmer on Frederick’s shelves.

“Do you ever wish,” whispers Werner, “that you didn’t have to go back?”

“Father needs me to be at Schulpforta. Mother too. It doesn’t matter what I want.”

“Of course it matters. I want to be an engineer. And you want to study birds. Be like that American painter in the swamps. Why else do any of this if not to become who we want to be?”

A stillness in the room. Out there in the trees beyond Frederick’s window hangs an alien light.

“Your problem, Werner,” says Frederick, “is that you still believe you own your life.”

When Werner wakes, it’s well past dawn. His head aches and his eyeballs feel heavy. Frederick is already dressed, wearing trousers, an ironed shirt, and a necktie, kneeling against the window with his nose against the glass. “Gray wagtail.” He points. Werner looks past him into the naked lindens.

“Doesn’t look like much, does he?” murmurs Frederick. “Hardly a couple of ounces of feathers and bones. But that bird can fly to Africa and back. Powered by bugs and worms and desire.”

The wagtail hops from twig to twig. Werner rubs his aching eyes. It’s just a bird.

“Ten thousand years ago,” whispers Frederick, “they came through here in the millions. When this place was a garden, one endless garden from end to end.”

M
arie-Laure wakes and thinks she hears the shuffle of Papa’s shoes, the clink of his key ring. Fourth floor fifth floor sixth. His fingers brush the doorknob. His body radiates a faint but palpable heat in the chair beside her. His little tools rasp across wood. He smells of glue and sandpaper and Gauloises
bleues
.

But it is only the house groaning. The sea throwing foam against rocks. Deceits of the mind.

On the twentieth morning without any word from her father, Marie-Laure does not get out of bed. She no longer cares that her great-uncle put on an ancient necktie and stood by the front door on two separate occasions and whispered weird rhymes to himself—
à la pomme de terre, je suis par terre; au haricot, je suis dans l’eau—
trying and failing to summon the courage to go out. She no longer begs Madame Manec to take her to the train station, to write another letter, to spend another futile afternoon at the prefecture trying to petition occupation authorities to locate her father. She becomes unreachable, sullen. She does not bathe, does not warm herself by the kitchen fire, ceases to ask if she can go outdoors. She hardly eats. “The museum says they’re searching, child,” whispers Madame Manec, but when she tries to press her lips to Marie-Laure’s forehead, the girl jerks backward as if burned.

The museum replies to Etienne’s appeals; they report that Marie-Laure’s father never arrived.

“Never arrived?” says Etienne aloud.

This becomes the question that drags its teeth through Marie-Laure’s mind. Why didn’t he make it to Paris? If he couldn’t, why didn’t he return to Saint-Malo?

I will never leave you, not in a million years.

She wants only to go home, to stand in their four-room flat and hear the chestnut tree rustle outside her window; hear the cheese seller raise his awning; feel her father’s fingers close around hers.

If only she had begged him to stay.

Now everything in the house scares her: the creaking stairs, shuttered windows, empty rooms. The clutter and silence. Etienne tries performing silly experiments to cheer her: a vinegar volcano, a tornado in a bottle. “Can you hear it, Marie? Spinning in there?” She does not feign interest. Madame Manec brings her omelets, cassoulet, brochettes of fish, fabricating miracles out of ration tickets and the dregs of her cupboards, but Marie-Laure refuses to eat.

“Like a snail,” she overhears Etienne say outside her door. “Curled up so tight in there.”

But she is angry. At Etienne for doing so little, at Madame Manec for doing so much, at her father for not being here to help her understand his absence. At her eyes for failing her. At everything and everyone. Who knew love could kill you? She spends hours kneeling by herself on the sixth floor with the window open and the sea hurling arctic air into the room, her fingers on the model of Saint-Malo slowly going numb. South to the Gate of Dinan. West to the Plage du Môle. Back to the rue Vauborel. Every second Etienne’s house grows colder; every second it feels as if her father slips farther away.

O
ne February morning, the cadets are roused from their beds at two
A.M.
and driven out into the glitter. In the center of the quadrangle, torches burn. Keg-chested Bastian waddles out with his bare legs showing beneath his coat.

Frank Volkheimer emerges from the shadows, dragging a tattered and skeletal man in mismatched shoes. Volkheimer sets him down beside the commandant, where a stake has been driven into the snow. Methodically Volkheimer ties the man’s torso to the stake.

A vault of stars hangs overhead; the collective breath of the cadets mingles slowly, nightmarishly above the courtyard.

Volkheimer retreats; the commandant paces.

“You boys would not believe what a creature this is. What a foul beast, a centaur, an
Untermensch
.”

Everyone cranes to see. The prisoner’s ankles are cuffed and his arms bound from wrists to forearms. His thin shirt has split at the seams and he gazes into some middle distance with hypothermic slackness. He looks Polish. Russian, maybe. Despite his fetters, he manages to sway lightly back and forth.

Bastian says, “This man escaped from a work camp. Tried to violate a farmhouse and steal a liter of fresh milk. He was stopped before he could do something more nefarious.” He gestures vaguely beyond the walls. “This barbarian would tear out your throats in a second if we let him.”

Since the visit to Berlin, a great dread has been blooming inside Werner’s chest. It came gradually, as slow-moving as the sun’s passage across the sky, but now he finds himself writing letters to Jutta in which he must skirt the truth, must contend that everything is fine when
things do not feel fine. He descends into dreams in which Frederick’s mother mutates into a leering, small-mouthed demon and lowers Dr. Hauptmann’s triangles over his head.

A thousand frozen stars preside over the quad. The cold is invasive, mindless.

“This look?” Bastian says, and flourishes his fat hand. “The way he’s got nothing left? A German soldier never reaches this point. There’s a name for this look. It’s called ‘circling the drain.’ ”

The boys try not to shiver. The prisoner blinks down at the scene as if from a very high perch. Volkheimer returns carrying a clattering raft of buckets; two other seniors uncoil a water hose across the quadrangle. Bastian explains: First the instructors. Then upperclassmen. Everyone will file past and soak the prisoner with a bucket of water. Every man in the school.

They start. One by one, each instructor takes a full bucket from Volkheimer and flings its contents at the prisoner a few feet away. Cheers rise into the frozen night.

At the first two or three dousings, the prisoner comes awake, rocking back on his heels. Vertical creases appear between his eyes; he looks like someone trying to remember something vital.

Among the instructors in their dark capes, Dr. Hauptmann goes past, his gloved fingers pinching his collar around his throat. Hauptmann accepts his bucket and throws a sheet of water and doesn’t linger to watch it land.

The water keeps coming. The prisoner’s face empties. He slumps over the ropes propping him up, and his torso slides down the stake, and every now and then Volkheimer comes out of the shadows, looming fantastically huge, and the prisoner straightens again.

The upperclassmen vanish inside the castle. The buckets make a muted, frozen clanking as they are refilled. The sixteen-year-olds finish. The fifteen-year-olds finish. The cheers lose their gusto and a pure longing to flee floods Werner. Run. Run.

Three boys until his turn. Two boys. Werner tries to float images in front of his eyes, but the only ones that come are wretched: the
hauling machine above Pit Nine; the hunched miners walking as if they dragged the weight of enormous chains. The boy from the entrance exams trembling before he fell. Everyone trapped in their roles: orphans, cadets, Frederick, Volkheimer, the old Jewess who lives upstairs. Even Jutta.

When his turn arrives, Werner throws the water like all the others and the splash hits the prisoner in the chest and a perfunctory cheer rises. He joins the cadets waiting to be released. Wet boots, wet cuffs; his hands have become so numb, they do not seem his own.

Five boys later, it is Frederick’s turn. Frederick, who clearly cannot see well without his glasses. Who has not been cheering when each bucketful of water finds its mark. Who is frowning at the prisoner as though he recognizes something there.

And Werner knows what Frederick is going to do.

Frederick has to be nudged forward by the boy behind him. The upperclassman hands him a bucket and Frederick pours it out on the ground.

Bastian steps forward. His face flares scarlet in the cold. “Give him another.”

Again Frederick sloshes it onto the ice at his feet. He says in a small voice, “He is already finished, sir.”

The upperclassman hands over a third pail. “Throw it,” commands Bastian. The night steams, the stars burn, the prisoner sways, the boys watch, the commandant tilts his head. Frederick pours the water onto the ground. “I will not.”

M
arie-Laure’s father has been missing without word for twenty-nine days. She wakes to Madame Manec’s blocky pumps climbing to the third floor the fourth the fifth.

Etienne’s voice on the landing outside his study: “Don’t.”

“He won’t know.”

“She is my responsibility.”

Some unexpected steel emerges in Madame Manec’s voice. “I cannot stand by one moment longer.”

She climbs the last flight. Marie-Laure’s door creaks open; the old woman crosses the floor and places her heavy-boned hand on Marie-Laure’s forehead. “You’re awake?”

Marie-Laure rolls herself into the corner and speaks through linens. “Yes, Madame.”

“I’m taking you out. Bring your cane.”

Marie-Laure dresses herself; Madame Manec meets her at the bottom of the stairs with a heel of bread. She ties a scarf over Marie-Laure’s head, buttons her coat all the way to the collar, and opens the front door. Morning in late February, and the air smells rainy and calm.

Marie-Laure hesitates, listening. Her heart beats two four six eight.

“Hardly anyone is out yet, dear,” whispers Madame Manec. “And we are doing nothing wrong.”

The gate creaks.

“One step down, now straight on, that’s it.” The cobbled street presses up irregularly against Marie-Laure’s shoes; the tip of her cane catches, vibrates, catches again. A light rain falls on rooftops, trickles through runnels, beads up on her scarf. Sound ricochets between the
high houses; she feels, as she did in her first hour here, as if she has stepped into a maze.

Far above them, someone shakes a duster out a window. A cat mewls. What terrors gnash their teeth out here? What was Papa so anxious to protect her from? They make one turn, then a second, and then Madame Manec steers her left where Marie-Laure does not expect her to, where the city walls, furred with moss, have been scrolling along unbroken, and they’re stepping through a gateway.

“Madame?”

They pass out of the city.

“Stairs here, mind yourself, one down, two, there you are, easy as cake . . .”

The ocean. The ocean! Right in front of her! So close all this time. It sucks and booms and splashes and rumbles; it shifts and dilates and falls over itself; the labyrinth of Saint-Malo has opened onto a portal of sound larger than anything she has ever experienced. Larger than the Jardin des Plantes, than the Seine, larger than the grandest galleries of the museum. She did not imagine it properly; she did not comprehend the scale.

When she raises her face to the sky, she can feel the thousand tiny spines of raindrops melt onto her cheeks, her forehead. She hears Madame Manec’s raspy breathing, and the deep sounding of the sea among the rocks, and the calls of someone down the beach echoing off the high walls. In her mind she can hear her father polishing locks. Dr. Geffard walking along the rows of his drawers. Why didn’t they tell her it would be like this?

“That’s Monsieur Radom calling to his dog,” says Madame Manec. “Nothing to worry about. Here’s my arm. Sit down and take off your shoes. Roll up your coat sleeves.”

Marie-Laure does as she is told. “Are they watching?”

“The
Boches
? So what if they are? An old woman and a girl? I’ll tell them we’re digging clams. What can they do?”

“Uncle says they’ve buried bombs in the beaches.”

“Don’t you worry about that. He is frightened of an ant.”

“He says the moon pulls the ocean back.”

“The moon?”

“Sometimes the sun pulls too. He says that around the islands, the tides make funnels that can swallow boats whole.”

“We aren’t going anywhere near there, dear. We’re just on the beach.”

Marie-Laure unwinds her scarf and Madame Manec takes it. Briny, weedy, pewter-colored air slips down her collar.