Before the Feast (3 page)

The village provides itself with seats. The seating plan is a ticklish subject. Who gets to sit at the beer table in front, near the bonfire? Who has earned the merit of being near the flames? Who defines what merit is this year?

The village cleans its display windows. The village polishes up the rims of wheels. The village takes a shower. The fishermen are after pike today, the bakery is generous with its jam fillings. Many households will prudently lay in a double dose of insulin.

Daughters make up their mothers' faces, mothers trickle eyedrops in the lower lids of tired fathers' eyes, fathers can't find their braces. The hairdresser would make a real killing if we had a hairdresser. Apparently one is supposed to be coming from Woldegk, but how is that to be managed? Will he go round the houses like the doctor on his Thursday visits, or put up his chair and mirror somewhere central? We don't know.

Frau Reiff has invited guests to her pottery on this Open Day: she serves coffee, honey sandwiches and a talk about making pottery. Her visitors get beer tankards made by the Japanese
raku
method fired in her kiln, or maybe have a go at firing a vase themselves. Later there will be a band from Stuttgart playing African music. The musicians have already
arrived. They keep saying how wonderful the landscape is, as if that were the village's own doing.

Zieschke the baker will be auctioneer for the sale of
Works of Art and Curios
again. Last year he did it with his shirt worn loose over his trousers and using a beer bottle as the auctioneer's gavel. The proceeds go to our Homeland House. We can already guess some of the items to be sold:

•   
Antique globe (including Prussia): reserve price 1 euro

•   
Self-adhesive silicon Secret
+
bra: reserve price 2 euros

•   
Laundry basket with surprise contents: reserve price 3 euros

•   
Local Prenzlau calendar for 1938: reserve price 6 euros

•   
People's Police uniform (with cap, worn): reserve price 15 euros

•   
Brand new oil painting by Frau Kranz (painted the night before the Feast): reserve price not known

Non-villagers can also bid in the auction, and they laugh at some of the items on offer, most loudly of all when they are no laughing matter. Or that's how it sounds, when some of them think they are cleverer than the story; they don't credit us with irony.

Our Anna Feast. No one really knows what we're celebrating. It's not the anniversary of anything, nothing ends or began on exactly that day. St Anne has her own saint's day sometime in the summer, and the saints aren't saintly to us
any more. Perhaps we're simply celebrating the existence of the village. Fürstenfelde. And the stories that we tell about it.

Time still has to pass. The village switches off its TV sets, the village plumps up its pillows, tonight hardly anyone in the village makes love. The village goes to bed early. Let us leave the dreaming villagers in peace, and spend time with those who lie awake:

With our lakes that never sleep anyway.

With animals on the prowl. Under cover of darkness, the vixen sets out on a memorable hunt.

With our bells, which will soon be ringing in the festive day. These days, who can boast of still having a bell-ringer, and an apprentice bell-ringer too?

Herr Schramm weighs up his pistol in his hand.

Frau Kranz is awake too. What a pity, when many old ladies are snoring! She is out and about, well equipped for the night: flashlight, rain cape, she has shouldered her easel and is pulling the trolley with her old leather case behind her. Going through the Woldegk Gate, she takes a good slug from her thermos flask, which has more than just tea in it. Frau Kranz is very well equipped.

And Anna, our Anna. Tomorrow is her last day. She lies in the dark, humming a song, the window is open, a simple tune, the cool night air passes over her brow. In this last year Anna has spent a lot of time alone at Geher's Farm, surrounded by her family's dilapidated past: her grandfather's tools, her mother's garden, neglected by Anna but popular with the wild
pigs, in the garage there is the Škoda, in which the cat has had her umpteenth litter of tabby kittens. There is a fallow field run wild under Anna's window. And tonight, on such a night as this, there are memories of a house that was once full, and the question of what has ever been good for her in the eighteen years she has spent there. On Monday Lada will come to clear the house out, in spring the people from Berlin will take it over, and Anna, on her own, remarkably indifferent to others of her age, Anna with her school-leaving certificate and her love of ships, Anna who shoots her grandfather's airgun out of the bathroom window at the wild pigs in the garden, Anna up and about at night, even tonight—come here to us, Anna. Come along the headland of the field to the Kiecker Forest, to the lakes, going all the old ways one last time, that's the plan, we young people of this village, from the new buildings and the ruins, we are glad. Anna is not alone, Anna is humming a tune, a sweet, childlike melody, we are with her.

The night before the Feast is a strange time. Once it used to be called
The Time of Heroes
. It's a fact that we've had more victims to mourn than heroes to celebrate, but never mind, it does no harm to dwell on the positive side now and then.

Over there by the ovens? The little girl with the log in her arms? She is the youngest of the girls called heroines. A child of just five years old, in a much-mended smock and a shirt too big for her, with pieces of leather wrapped round her feet. Her brother beside her is fair and slender as a birch tree. Timidly but proudly he throws the log that the little girl
hands him into the flames. Their mother is placing flax to dry in one of the ovens, she will bake bread for the Feast in the other. The village is celebrating because war has stopped stealing and devouring, driving everything out and killing it, because harvest has kept the promise of seed time. Things could get exuberant, the bigwig from town isn't here: Poppo von Blankenburg, coarse, loud-mouthed, observing the law as he sees fit.

The village says prayers daily for a
to some extent
, for an
at least
. For the continued existence of the fish. For our own continued existence. The little girl and her brother and the sieve-maker's two boys, there aren't any other children here now.

This is the year such-and-such. Frau Schwermuth would know the date for sure. She is our chronicler, our archivist, and wise in herbal lore as well, she can't sleep either. With a bowl of mini-carrots on her lap, she is watching
Buffy the Vampire Slayer
, series six, right the way through. The Feast and all the upheaval make considerable demands on her: Frau Schwermuth holds many threads in her hand.

The little girl chases her brother round the ovens. Anna, let's call her Anna. A little while ago the ovens were moved from the village to outside the walls. The fire had sent sparks flying too often, the sparks in their turn had rekindled fire, and like all newborn things the fire was hungry and wanted to feed, it swallowed up barns and stables, two whole farms—although the Riedershof fire, people say, had nothing to do with the
ovens. It was to do with the Devil. The Rieder family were in league with him, and the Devil had simply been taking an installment of the bargain.

The children's mother sweeps the glowing embers out of the oven with a damp bundle of twigs and puts a loaf into it, carefully, as if putting a child to bed. She reminds the children to keep watch on both the bread and the flax, it wouldn't be the first time that someone helped himself to what didn't belong to him. “Come and get us if you see strangers arriving.”

Let's leave the picture like that: the girl's brother is combing Anna's fair hair with his fingers. The little girl stands closer to the oven, holding out the palms of her hands to the stove flap. Their mother sets off along the path back to the village, humming a tune.

Anna, our Anna, has a similar tune on her lips. She shivers; the night is cool.

Come along, we'll take you with us. To your namesake, to other people, to animals. To the vixen, to Schramm. Into a hunger for life, into the weariness of life. To Frau Kranz, to Frau Schwermuth. To the smell of baking bread and the stink of war. To revenge and love. To the giants, the witches, the bravoes and the fools. We're sure you will make a reasonably good heroine.

We are sad, we are glad, let us pass our verdict, let us prepare.

HERR GÖLOW IS DONATING SIX PIGS FOR THE
Feast. One of the six will survive. First thing in the morning the Children's Day organizers inspect the place, and then the children get to pardon one of the pigs.

What for, and what does pardoning mean?

The spits for the remaining five are set up behind the bonfire. The children will be allowed to turn the spits. That kind of thing is fun too.

The Gölow property. Stock-breeding. Products for sale: honey and pork.

When pigs are being slaughtered in summer, in the heat that makes all sounds louder, you can hear their screams kilometers away. Many of the tourists who come to bathe in the lakes don't like it. A few of them don't know what the noise is. They ask, and then they don't like the noise either, and they also don't like having asked about it. So far as we're concerned the dying pigs are no problem, dying pigs are part of what little industry we have.

Olaf Gölow walks across the farmyard. Barbara and the boys are asleep. Gölow lay down to sleep as well, but his thoughts kept going round and round in circles: about Barbara's forthcoming operation, about the Feast, about the ferryman's death, about the Dutch who have been in touch again asking how things are going.

Gölow got up, carefully, so as not to wake Barbara. Now he is in the farm buildings, in the air-conditioned sweetness of his pigs and their sleepy grunts. He lights a cigarette, breathes the smoke in away from the pigs, turns the ventilation regulator.

Gölow is that kind of man, honest to the bone, you'd say. There are certain moments: for instance once, on a rainy day, he saw something lying in the mud outside the shed. There are certain ways of bending down, maybe they set off a reflex action, that could be it, a reflex action making you think: here's someone helping himself, look at the way he bends down. There are moments like that, something lying in the mud, an object, and Gölow bends down—broad-shouldered, wearing dungarees, a gold earring in his left ear—and picks it up. He takes his time, in spite of the rain, takes his time looking at it and squinting slightly, looking absent-minded. What's lying here with my pigs, what is it? Is it a nugget of gold, is it a pen, yes, it's a pen, why is it here? We're glad to see a man like that, we think of him as kind to his children and fair-minded when he presses the dirty pen down on his hand, draws a loop on his hand with it as well, to see if it works, yes, it does, and Gölow puts it in his pocket. Later he asks everyone: Jürgen, Matze, silent Suzi, have any of you lost a pen?

Then again: the ferryman owed Gölow money. Not a lot of money. Not a lot for Gölow. Presumably a good deal for the ferryman. And Gölow goes and buys him a coffin. He specially asks for a
comfortable
coffin. He spends two evenings doing research into coffins on the Internet. Barbara gets impatient:
why comfortable, what difference does it make? Gölow says the ferryman had a bad back. Some of the movements you make when you're rowing, when you're pulling on ropes, never mind whether you've been doing it right or wrong for years, in the end you need a comfortable coffin.

Gölow had known the ferryman for ever. He was already an old man as far back as Gölow can remember. Recently he went out with him several times, taking the boys with him. At last they're at the age when you can tell them scurrilous stories and they don't start blubbing, and the ferryman could tell stories that would really unsettle them. Kids love to be unsettled.

Gölow grinds out his cigarette. He smokes a lot without enjoying it. He always has that little tin in the front pocket of his dungarees, the one with the Alaska logo on the lid. He walks past the pigsties. Making notes; Gölow is making notes. With the pen that he found in the mud. We trust him to pick the six best pigs. Obama always pardons a turkey before Thanksgiving.

Obama; Gölow isn't very keen on him. Talks a lot of hot air. Out of all those American presidents, somehow, Clinton was the only one he liked. They sent him a letter once: the Yugos, Barbara and Gölow himself. That was in '95. Gölow had a Bosnian and a Serb working for him, and he had no idea exactly what the difference was. Then he found out that they didn't really know either. They both hated the war. They argued only once about the question of guilt, because there's
always a one-off argument about questions of guilt, but they settled the question peacefully and then decided to watch only the German news from then on, because on that channel everyone was to blame except the Germans—they couldn't afford to be guilty of anything for the next thousand years, and the two Yugos could both live with that.

The two of them had been pig farmers at home, and knew a lot about keeping pigs. At least, they'd said so when they first came along. Pretty soon Gölow realized that they hadn't the faintest idea of pig-farming, but they were happy with the pay, and at the time Gölow couldn't pay all that much. On the black market. Of course the black market or it would never have worked, on account of the visas. Tolerance was the name of the game, they were tolerated here.

It's years since Gölow thought of the two Yugos, but on such a night as this. . . Anyway, the letter to Clinton. All the horrors had just come to light, the mass graves, the camps. And then the Serb said: they'll have to bomb us Serbs. If they only ever make threats it'll never come to an end. Only not the civilians. No one likes to think of bombed civilians. The Bosnian had no objection to that idea. Well, and then Gölow said: let's write the President a letter. They both agreed at once, although it was meant as a joke. The Serb dictated it, the Bosnian's German was better, so he translated it into German, then Gölow tried to guess what it meant and Barbara wrote it out in English. This went on until late at night, and in the end they hugged and wept and posted the letter, addressed to the White House. As
sender's address the Serb had given his own before he got out of the country, to lend emphasis to their request. Next day he thought that was probably a mistake, because if they see that it's a Serb writing, he said, that's the place that they'll bomb first.