The Tin Drum d-1

by Günter Grass

  I had no difficulty in submerging myself in the swarm of excited grownups and in evading Matzerath, who was looking for me. He and Laubschad the watchmaker were the first to spring into action. They tried to enter the house through the window. But Mrs. Greff wouldn’t let anybody climb up, much less enter. Scratching, flailing, and biting, she still managed to find time to scream louder than ever and in part intelligibly. The ambulance men should be first to go in; she had telephoned long ago, there was no need for anyone to telephone again, she knew what had to be done in such cases. They should attend to their own shops, things were already bad enough without their meddling. Curiosity, nothing but curiosity, you could see who your friends were when trouble came. In the middle of her lament, she must have caught sight of me outside her window, for she called me and, after shaking off the men, held out her bare arms to me, and someone—Oskar still thinks it was Laubschad the watchmaker—lifted me up, tried, despite Matzerath’s opposition, to hand me in. Close by the window box, Matzerath nearly caught me, but then Lina Greff reached out, pressed me to her warm nightgown, and stopped screaming. After that she just gave out a falsetto whimpering and between whimpers gasped for air.

  A moment before, Mrs. Greff’s screams had lashed the neighbors into a shamelessly gesticulating frenzy; now her high, thin whimpering reduced those pressing round the window box to a silent, scraping, embarrassed mob which seemed almost afraid to look her lamentations in the face and projected all its hope, all its curiosity and sympathy into the moment when the ambulance should arrive.

  Oskar too was repelled by Mrs. Greff’s whimpering. I tried to slip down a little lower, where I wouldn’t be quite so close to the source of her lamentations; I managed to relinquish my hold on her neck and to seat myself partly on the window box. But soon Oskar felt he was being watched; Maria, with the child in her arms, was standing in the doorway of the shop. Again I decided to move, for I was keenly aware of the awkwardness of my situation. But I was thinking only of Maria; I didn’t care a hoot for the neighbors. I shoved off from the Greffian coast, which was quaking too much for my taste and reminded me of bed.

  Lina Greff was unaware of my flight, or else she lacked the strength to restrain the little body which had so long provided her with compensation. Or perhaps she suspected that Oskar was slipping away from her forever, that with her screams a sound had been born which, on the one hand, would become a wall, a sound barrier between the drummer and the bedridden woman, and on the other hand would shatter the wall that had arisen between Maria and myself.

  I stood in the Greff bedroom. My drum hung down askew and insecure. Oskar knew the room well, he could have recited the sap-green wallpaper by heart in any direction. The washbasin with the grey soapsuds from the previous day was still in its place. Everything had its place and yet the furniture in that room, worn with sitting, lying, and bumping, looked fresh to me, or at least refreshed, as though all these objects that stood stiffly on four legs along the walls had needed the screams, followed by the falsetto whimpering of Lina Greff, to give them a new, terrifyingly cold radiance.

  The door to the shop stood open. Against his will Oskar let himself be drawn into that room, redolent of dry earth and onions. Seeping in through cracks in the shutters, the daylight designed stripes of luminous dust particles in the air. Most of Greff’s noise and music machines were hidden in the half-darkness, the light fell only on a few details, a little bell, a wooden prop, the lower part of the drumming machine, the evenly balanced potatoes.

  The trap door which, exactly as in our shop, led down to the cellar, stood open. Nothing supported the plank cover which Mrs. Greff must have opened in her screaming haste: nor had she inserted the hook in its eye affixed to the counter. With a slight push Oskar might have tipped it back and closed the cellar.

  Motionless, I stood behind those planks, breathing in their smell of dust and mold and staring at the brightly lit rectangle enclosing a part of the staircase and a piece of concrete cellar floor. Into this rectangle, from the upper right, protruded part of a platform with steps leading up to it, obviously a recent acquisition of Greff’s, for I had never seen it on previous visits to the cellar. But Oskar would not have peered so long and intently into the cellar for the sake of a platform; what held his attention was those two woolen stockings and those two black laced shoes which, strangely foreshortened, occupied the upper righthand corner of the picture. Though I could not see the soles, I knew them at once for Greff’s hiking shoes. It can’t be Greff, I thought, who is standing there in the cellar all ready for a hike for the shoes are not standing but hanging in midair, just over the platform, though it seems possible that the tips of the shoes, pointing sharply downward, are in contact with the boards, not much, but still in contact. For a second I fancied a Greff standing on tiptoes, a comical and strenuous exercise, yet quite conceivable in this athlete and nature lover.

  To check this hypothesis, meaning, if it were confirmed, to have a good laugh at the greengrocer’s expense, I climbed cautiously down the steep stairs, drumming, if I remember correctly, something or other of a nature to create and dispel fear: “Where’s the Witch, black as pitch?”

  Only when Oskar stood firmly on the concrete floor did he pursue his investigation—by detours, via bundles of empty onion bags, via piles of empty fruit crates—until, grazing a scaffolding he had never seen before, his eyes approached the spot where Greff’s hiking shoes must have been hanging or standing on tiptoes.

  Of course I knew Greff was hanging. The shoes hung, consequently the coarsely knitted dark green stockings must also be hanging. Bare adult knees over the edges of the stockings, hairy thighs to the edges of the trousers; at this point a cutting, prickling sensation rose slowly from my private parts, slowly following my rump to my back, which grew suddenly numb, climbed my spinal coard, settled down in the back of my neck, struck me hot and cold, raced down again between my legs, made my scrotum, tiny to begin with, shrivel to nothingness, leapt upward again, over my back, my neck, and shrank—to this day Oskar feels that same gagging, that same knife thrust, when anyone speaks of hanging in his presence, even of hanging out washing. It wasn’t just Greff’s hiking shoes, his woolen stockings, knees, and knee breeches that were hanging; the whole of Greff hung by the neck, and the strained expression of his face, above the cord, was not entirely free from theatrical affectation.

  Surprisingly soon, the cutting, prickling sensation died down. I grew accustomed to the sight of Greff; for basically the posture of a man hanging is just as normal and natural as that of a man walking on his hands or standing on his head, or of a human who puts himself in the truly unfortunate position of mounting a four-legged horse with a view to riding.

  Then there was the setting. Only now did Oskar appreciate the trouble Greff had gone to. The frame, the setting in which Greff hung, was studied to the point of extravagance. The greengrocer had aimed at a form of death appropriate to himself, a well-balanced death. He who in his lifetime had had difficulties and unpleasant correspondence with the Bureau of Weights and Measures, whose weights had several times been confiscated, who had had to pay fines for inaccuracy in the weighing of fruit and vegetables, had weighed himself to the last ounce with potatoes.

  The faintly shiny rope, soaped I should think, ran, guided by pulleys, over two beams which, for the last day of his life, Greff had fashioned into a scaffolding whose sole purpose it was to serve as his last scaffolding. Obviously the greengrocer had spared no expense, he had used the very best wood. What with the wartime shortage of building materials, those planks and beams must have been hard to come by. Greff must have bartered fruit for wood. The scaffolding was not lacking in superfluous but decorative struts and braces. The platform and the steps leading up to it—Oskar had seen a corner of it from the shop—gave the whole edifice a quality verging on the sublime.

  As in the drumming machine, which the inventor may have taken as his model, Greff and his counterweight hung inside a frame. Forming a sharp contra
st to the four whitewashed crossbeams, a graceful little green ladder stood between him and the potatoes that counterbalanced him. With an ingenious knot such as scouts know how to tie, he had fastened the potato baskets to the main rope. Since the interior of the scaffolding was illumined by four light bulbs which, though painted white, gave off an intense glow, Oskar was able, without desecrating the platform with his presence, to read the inscription on a cardboard tag fastened with wire to the scout knot over the potato basket: 165 lbs. (less 3 oz.).

  Greff hung in the uniform of a boy scout leader. On his last day he had resumed the uniform of the pre-war years. But it was now too tight for him. He had been unable to close the two uppermost trouser buttons and the belt, a jarring note in his otherwise trim costume. In accordance with scout ritual Greff had crossed two fingers of his left hand. Before hanging himself, he had tied his scout hat to his right wrist. He had had to forgo the neckerchief. He had also been unable to button the collar of his shirt, and a bush of curly black hair burst through the opening.

  On the steps of the platform lay a few asters, accompanied inappropriately by parsley stalks. Apparently he had run out of flowers to strew on the steps, for he had used most of the asters and a few roses to wreathe the four little pictures that hung on the four main beams of the scaffolding. Left front, behind glass, hung Baden-Powell, founder of the Boy Scouts. Left rear, unframed, St. George. Right rear, without glass, the head of Michelangelo’s David. On the right front post, provided with frame and glass, hung the photo of an expressively handsome boy, aged perhaps sixteen: an early picture of his favorite, Horst Donath, later Lieutenant Donath, who had fallen by the Donets.

  Perhaps I should say a word about the four scraps of paper on the platform steps between the asters and the parsley. They were disposed in such a way that they could easily be pieced together. Oskar pieced them together and deciphered a summons to appear in court on a morals charge.

  The ambulance siren aroused me from my meditations about the greengrocer’s death. A moment later they came hobbling down the cellar stairs, mounted the steps to the platform, and took the dangling Greff in hand. No sooner had they lifted him than the potato baskets making a counterweight fell with a crash, releasing a mechanism similar to that of the drumming machine, housed on top of the scaffolding but discreetly sheathed in plywood. While down below potatoes rolled over the platform or fell directly to the concrete floor, up above clappers pounded upon tin, wood, bronze, and glass, an orchestra of drums was unleashed: Albrecht Greff’s grand finale.

  Oskar finds it very difficult to reproduce on his drum an echo of that avalanche of potatoes—a windfall, incidentally, to some of the ambulance orderlies—and of the organized din of Greff’s drumming machine. And yet, perhaps because my drum accounted in good part for the form Greff imprinted upon his death, I occasionally manage to drum a pretty faithful tone-poem of Greff’s death. When friends, or Bruno my keeper, ask me what my piece is called, I tell them the title is “165 Lbs.”

  Bebra’s Theater at the Front

  In mid-June, 1942, my son Kurt was one year old. Oskar, the father, attached little importance to this birthday; two years more, he thought to himself. In October, ‘42, Greff, the greengrocer, hanged himself on a gallows so ingeniously conceived that I, Oskar, have ever since looked upon suicide as one of the noble forms of death. In January, ‘43, there was a good deal of talk about the city of Stalingrad. But since Matzerath uttered the name of this city very much in the same tone as previously Pearl Harbor, Tobruk, and Dunkirk, I paid no more attention to the happenings there than I had to those in the other cities whose names had been made familiar to me by special communiqués; for Wehrmacht communiques and newscasts had become Oskar’s school of geography. How else would I have learned the situation of the Kuban, Mius, and Don rivers, who could have taught me more about the Aleutian Islands, Atu, Kiska, and Adak than the radio commentaries ori the events in the Far East? So it came about that in January, 1943, I learned that the city of Stalingrad is situated on the Volga; but I was far less interested in the fate of the Sixth Army than in Maria, who had a slight case of grippe at the time.

  As Maria’s grippe drew to a close, the geography lesson went on: to this day, Oskar can locate Rzev and Demyansk instantly and with his eyes shut on any map of Soviet Russia. No sooner was Maria well again than my son Kurt came down with the whooping cough. While I struggled to retain the difficult names of a few hotly disputed Tunisian oases, Kurt’s whooping cough, simultaneously with the Afrika Korps, came to an end.

  Oh, merry month of May: Maria, Matzerath, and Gretchen Scheffler made preparations for little Kurt’s second birthday. Oskar, too, took considerable interest in the impending celebration; for from June 12, 1943 it would be only a brief year. If I had been present, I might have whispered into my son’s ear on his second birthday: “Just wait, soon you too will be drumming.” But it so happened that on June 12, 1943, Oskar was no longer in Danzig-Langfuhr but in Metz, an ancient city founded by the Romans. My absence was indeed so protracted that Oskar had considerable difficulty in getting back to his native place by June 12, 1944, before the big air raids and in time for Kurt’s third birthday.

  What business took me abroad? I won’t beat around the bush: Outside the Pestalozzi School, which had been turned into an Air Force barracks, I met my master Bebra. But Bebra by himself could not have persuaded me to go out into the world. On Bebra’s arm hung Raguna, Signora Roswitha, the great somnambulist.

  Oskar was coming from Kleinhammer-Weg. He had paid Gretchen Scheffler a call and had leafed through the Struggle for Rome. Even then, even in the days of Belisarius, he had discovered, history had its ups and downs, even then victories and defeats at river crossings and cities were celebrated or deplored with a fine geographical sweep.

  I crossed the Fröbelwiese, which in the course of the last few years had been turned into a storehouse for the Organization Todt; I was thinking about Taginae—where in the year 552 Narses defeated Totila—but it was not the victory that attracted my thoughts to Narses, the great Armenian; no, what interested me was the general’s build; Narses was a misshapan hunchback, Narses was undersized, a dwarf, a gnome, a midget. Narses, I reflected, was a child’s head taller than Oskar. By then I was standing outside the Pestalozzi School. Eager to make comparisons, I looked at the insignia of some Air Force officers who had shot up too quickly. Surely, I said to myself, Narses hadn’t worn any insignia, he had no need to. And there, in the main entrance to the school, stood the great general in person; on his arm hung a lady—why shouldn’t Narses have had a lady on his arm? As they stepped toward me, they were dwarfed by the Air Force giants, and yet they were the hub and center, round them hung an aura of history and legend, they were old as the hills in the midst of these half-baked heroes of the air—what was this whole barracks full of Totilas and Tejas, full of mast-high Ostrogoths, beside a single Armenian dwarf named Narses? With measured tread Narses approached Oskar; he beckoned and so did the lady on his arm. Respectfully the Air Force moved out of our way as Bebra and Signora Roswitha Raguna greeted me. I moved my lips close to Bebra’s ear and whispered: “Beloved master, I took you for Narses the great general; I hold him in far higher esteem than the athlete Belisarius.”

  Modestly Bebra waved my compliment away. But Raguna was pleased by my comparison. How prettily her lips moved when she spoke: “Why, Bebra, is our young amico so mistaken? Does not the blood of Prince Eugene flow in your veins? E Lodovico quattordicesimo? Is he not your ancestor?”

  Bebra took my arm and led me aside, for the Air Force kept admiring us and annoying us with their stares. After a lieutenant and a moment later two sergeants had saluted Bebra—the master bore the stripes of a captain and on his sleeve an armband with the legend “Propaganda Company”—after the fliers had asked Raguna for autographs and obtained them, Bebra motioned the driver of his official car and we got in. As we drove off, there was more applause from the Air Force.

  We drove down Pest
alozzi-Strasse, Madgeburger-Strasse, Heeresanger. Bebra sat beside the driver. It was in Magdeburger-Strasse that Raguna started in, taking my drum as a springboard: “Still faithful to your drum, dear friend?” she whispered with her Mediterranean voice that I had not heard in so long. “And in general how faithful have you been?” Oskar gave no answer, spared her the narrative of his complicated sex life, but smilingly permitted the great somnambulist to caress first his drum, then his hands, which were clutching the drum rather convulsively, to caress his hands in a more and more meridional way.

  As we turned into the Heeresanger and followed the rails of the Number 5 car line, I even responded, that is, I stroked her left hand with mine, while her right hand bestowed tenderness on my right hand. We had passed Max-Halbe-Platz, it was too late for Oskar to get out, when, looking into the rear view mirror, I saw Bebra’s shrewd, light-brown, age-old eyes observing our caresses. But Raguna held on to my hands, which, out of consideration for my friend and master, I should have liked to withdraw. Bebra smiled in the rear view mirror, then looked away and struck up a conversation with the driver, while Roswitha for her part, warmly caressing and pressing my hands, embarked in Mediterranean tones upon a discourse addressed simply and directly to my heart, fluid, lyrical words which, after taking a brief practical turn, became sweeter than ever, paralyzing all my scruples and thoughts of flight. We were at Reichskolonie, heading for the Women’s Clinic, when Raguna owned to Oskar that she had never stopped thinking of him all these years, that she still had the glass from the Four Seasons Café, upon which I had sung an inscription, that Bebra was an excellent friend and working companion, but marriage was out of the question; Bebra had to live alone, said Raguna, in answer to a question from me; she allowed him complete freedom, and he too, although extremely jealous by nature, had come to understand in the course of the years that Raguna could not be tied, and anyway Bebra, as director of the Theater at the Front, had little time for conjugal duties, but as for the troupe, it was tops, in peacetime it could perfectly well have played at the Wintergarten or the Scala, would I, Oskar, with all my divine talent that was just going to waste, be interested in a trial year, I was certainly old enough, a trial year, she could promise me I would like it, but presumably I, Oskar, had other obligations, vero? So much the better, they were leaving today, they had just given their last performance in the military district of Danzig-West Prussia, now they were going to France, there was no danger of being sent to the Eastern Front for the present, they had that behind them, thank goodness, I, Oskar, could be very glad that the East was passé, that I would be going to Paris, yes, they were certainly going to Paris, had I, Oskar, ever been in Paris? Well, then, amico, if Raguna cannot seduce your hard drummer’s heart, let Paris seduce you, andiamo!