Marie-Laure twists the chimney of the miniature house ninety degrees. Then she slides off three wooden panels that make up its roof, and turns it over. A stone drops into her palm. It’s cold. The size of a pigeon’s egg. The shape of a teardrop. Marie-Laure clutches the tiny house in one hand and the stone in the other. The room feels flimsy, tenuous. Giant fingertips seem about to punch through its walls. “Papa?” she whispers.
He sweeps her hair back from her ears; he swings her above his head. He says she is his émerveillement. He says he will never leave her, not in a million years.
In the play, the invaders pose as hook-nosed department-store owners, crooked jewelers, dishonorable bankers; they sell glittering trash; they drive established village businessmen out of work. Soon they plot to murder German children in their beds. Eventually a vigilant and humble neighbor catches on. Police are called: big handsome-sounding policemen with splendid voices. They break down the doors. They drag the invaders away. A patriotic march plays. Everyone is happy again.
Open your eyes, concludes the man, and see what you can with them before they close forever, and then a piano comes on, playing a lonely song that sounds to Werner like a golden boat traveling a dark river, a progression of harmonies that transfigures Zollverein: the houses turned to mist, the mines filled in, the smokestacks fallen, an ancient sea spilling through the streets, and the air streaming with possibility.
The voice, the piano again. Perhaps it’s Werner’s imagination, but each time he hears one of the programs, the quality seems to degrade a bit more, the sound growing fainter: as though the Frenchman broadcasts from a ship that is slowly traveling farther away.
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.
On the second morning, there are raciological exams. They require little of Werner except to raise his arms or keep from blinking while an inspector shines a penlight into the tunnels of his pupils. He sweats and shifts. His heart pounds unreasonably. An onion-breathed technician in a lab coat measures the distance between Werner’s temples, the circumference of his head, and the thickness and shape of his lips. Calipers are used to evaluate his feet, the length of his fingers, and the distance between his eyes and his navel. They measure his penis. The angle of his nose is quantified with a wooden protractor.
“It’s not forever, Jutta. Two years, maybe. Half the boys who get admitted don’t manage to graduate. But maybe I’ll learn something; maybe they’ll teach me to be a proper engineer. Maybe I can learn to fly an airplane, like little Siegfried says. Don’t shake your head, we’ve always wanted to see the inside of an airplane, haven’t we? I’ll fly us west, you and me, Frau Elena too if she wants. Or we could take a train. We’ll ride through forests and villages de montagnes, all those places Frau Elena talked about when we were small. Maybe we could ride all the way to Paris.” The burgeoning light. The tender hissing of the grass. Jutta opens her eyes but doesn’t look at him. “Don’t tell lies. Lie to yourself, Werner, but don’t lie to me.”
“But I wasn’t trying to reach England. Or Paris. I thought that if I made the broadcast powerful enough, my brother would hear me. That I could bring him some peace, protect him as he had always protected me.”
“You’d play your brother’s own voice to him? After he died?”
“Did he ever talk back?”
The attic ticks. What ghosts sidle along the walls right now, trying to overhear? She can almost taste her great-uncle’s fright in the air.
“No,” he says. “He never did.”
The fastest cadet is lunging for the back of the boy’s shirt. He almost has him. Black-haired Ernst is going to be caught, and Werner wonders if some part of him wants it to happen. But the boy makes it to the commandant a split second before the others come pounding past.
Why always triangles? What is the purpose of the transceiver they are building? What two points does Hauptmann know, and why does he need to know the third? “It’s only numbers, cadet,” Hauptmann says, a favorite maxim. “Pure math. You have to accustom yourself to thinking that way.”
Atelier de réparation, thinks Werner, a chamber in which to make reparations. As appropriate a place as any. Certainly there would be people in the world who believe these three have reparations to make.
“Your problem, Werner,” says Frederick, “is that you still believe you own your life.”
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.”
Mostly he misses Jutta: her loyalty, her obstinacy, the way she always seems to recognize what is right.
Though in Werner’s weaker moments, he resents those same qualities in his sister. Perhaps she’s the impurity in him, the static in his signal that the bullies can sense. Perhaps she’s the only thing keeping him from surrendering totally.
“Do you know what happens, Etienne,” says Madame Manec from the other side of the kitchen, “when you drop a frog in a pot of boiling water?”
“You will tell us, I am sure.”
“It jumps out. But do you know what happens when you put the frog in a pot of cool water and then slowly bring it to a boil? You know what happens then?”
Marie-Laure waits. The potatoes steam.
Madame Manec says, “The frog cooks."
He says, “The war that killed your grandfather killed sixteen million others. One and a half million French boys alone, most of them younger than I was. Two million on the German side. March the dead in a single-file line, and for eleven days and eleven nights, they’d walk past our door. This is not rearranging street signs, what we’re doing, Marie. This is not misplacing a letter at the post office. These numbers, they’re more than numbers. Do you understand?”
“But we are the good guys. Aren’t we, Uncle?”
“I hope so. I hope we are.”
Volkheimer who always makes sure there is food for Werner. Who brings him eggs, who shares his broth, whose fondness for Werner remains, it seems, unshakable…
Werner waits for the child to blink. Blink, he thinks, blink blink blink. Already Volkheimer is closing the closet door, though it won’t close all the way because the girl’s foot is sticking out of it, and Bernd is covering the woman on the bed with a blanket, and how could Neumann Two not have known, but of course he didn’t, because that is how things are with Neumann Two, with everybody in this unit, in this army, in this world, they do as they’re told, they get scared, they move about with only themselves in mind. Name me someone who does not.
Neumann One raises a single steady hand. His mouth is expressionless, but in the wrinkles at the corners of his eyes, Werner can see despair. “In the end,” murmurs Volkheimer as the truck heaves away, “none of us will avoid it.”
“Marie-Laure,” he says without hesitation. He squeezes her hand with both of his. “You are the best thing that has ever come into my life.”
“The cease-fire is scheduled for noon, or so they say,” von Rumpel says in an empty voice. “No need to rush. Plenty of time.” He jogs the fingers of one hand down a miniature street. “We want the same thing, you and I, Private. But only one of us can have it. And only I know where it is. Which presents a problem for you. Is it here or here or here or here?”
She reaches for his hand, sets something in his palm, and squeezes his hand into a fist. “Goodbye, Werner.”
Then she goes. Every few paces, the tip of her cane strikes a broken stone in the street, and it takes a while to pick her way around it. Step step pause. Step step again. Her cane testing, the wet hem of her dress swinging, the white pillowcase held aloft. He does not look away until she is through the intersection, down the next block, and out of sight.
It is cut, polished; for a breath, it passes between the hands of men.
Another hour, another day, another year. Lump of carbon no larger than a chestnut. Mantled with algae, bedecked with barnacles. Crawled over by snails. It stirs among the pebbles.
He kisses her once on each cheek. “Until next week, Mamie.”
She listens until his footsteps fade. Until all she can hear are the sighs of cars and the rumble of trains and the sounds of everyone hurrying through the cold.