All the Light We Cannot See

by Anthony Doerr

  friction strips on the kitchen tiles to reach the table; she follows a strand of twine he has threaded from the table to the toilet. He serves dinner on a round plate and describes the locations of different foods by the hands of a clock. Potatoes at six o’clock, ma chérie. Mushrooms at three. Then he lights a cigarette and goes to work on his miniatures at a workbench in the corner of the kitchen. He is building a scale model of their entire neighborhood, the tall-windowed houses, the rain gutters, the laverie and boulangerie and the little place at the end of the street with its four benches and ten trees. On warm nights Marie-Laure opens her bedroom window and listens to the evening as it settles over the balconies and gables and chimneys, languid and peaceful, until the real neighborhood and the miniature one get mixed up in her mind.

  Tuesdays the museum is closed. Marie-Laure and her father sleep in; they drink coffee thick with sugar. They walk to the Panthéon, or to a flower market, or along the Seine. Every so often they visit the bookshop. He hands her a dictionary, a journal, a magazine full of photographs. “How many pages, Marie-Laure?”

  She runs a nail along the edge.

  “Fifty-two?” “Seven hundred and five?” “One hundred thirty-nine?”

  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.

  Radio

  Werner is eight years old and ferreting about in the refuse behind a storage shed when he discovers what looks like a large spool of thread. It consists of a wire-wrapped cylinder sandwiched between two discs of pinewood. Three frayed electrical leads sprout from the top. One has a small earphone dangling from its end.

  Jutta, six years old, with a round face and a mashed cumulus of white hair, crouches beside her brother. “What is that?”

  “I think,” Werner says, feeling as though some cupboard in the sky has just opened, “we just found a radio.”

  Until now he has seen radios only in glimpses: a big cabinet wireless through the lace curtains of an official’s house; a portable unit in a miners’ dormitory; another in the church refectory. He has never touched one.

  He and Jutta smuggle the device back to Viktoriastrasse 3 and appraise it beneath an electric lamp. They wipe it clean, untangle the snarl of wires, wash mud out of the earphone.

  It does not work. Other children come and stand over them and marvel, then gradually lose interest and conclude it is hopeless. But Werner carries the receiver up to his attic dormer and studies it for hours. He disconnects everything that will disconnect; he lays its parts out on the floor and holds them one by one to the light.

  Three weeks after finding the device, on a sun-gilded afternoon when perhaps every other child in Zollverein is outdoors, he notices that its longest wire, a slender filament coiled hundreds of times around the central cylinder, has several small breaks in it. Slowly, meticulously, he unwraps the coil, carries the entire looped mess downstairs, and calls Jutta inside to hold the pieces for him while he splices the breaks. Then he rewraps it.

  “Now let’s try,” he whispers, and presses the earphone against his ear and runs what he has decided must be the tuning pin back and forth along the coil.

  He hears a fizz of static. Then, from somewhere deep inside the earpiece, a stream of consonants issues forth. Werner’s heart pauses; the voice seems to echo in the architecture of his head.

  The sound fades as quickly as it came. He shifts the pin a quarter inch. More static. Another quarter inch. Nothing.

  In the kitchen, Frau Elena kneads bread. Boys shout in the alley. Werner guides the tuning pin back and forth.

  Static, static.

  He is about to hand the earphone to Jutta when—clear and unblemished, about halfway down the coil—he hears the quick, drastic strikes of a bow dashing across the strings of a violin. He tries to hold the pin perfectly still. A second violin joins the first. Jutta drags herself closer; she watches her brother with outsize eyes.

  A piano chases the violins. Then woodwinds. The strings sprint, woodwinds fluttering behind. More instruments join in. Flutes? Harps? The song races, seems to loop back over itself.

  “Werner?” Jutta whispers.

  He blinks; he has to swallow back tears. The parlor looks the same as it always has: two cribs beneath two Latin crosses, dust floating in the open mouth of the stove, a dozen layers of paint peeling off the baseboards. A needlepoint of Frau Elena’s snowy Alsatian village above the sink. Yet now there is music. As if, inside Werner’s head, an infinitesimal orchestra has stirred to life.

  The room seems to fall into a slow spin. His sister says his name more urgently, and he presses the earphone to her ear.

  “Music,” she says.

  He holds the pin as stock-still as he can. The signal is weak enough that, though the earphone is six inches away, he can’t hear any trace of the song. But he watches his sister’s face, motionless except for her eyelids, and in the kitchen Frau Elena holds her flour-whitened hands in the air and cocks her head, studying Werner, and two older boys rush in and stop, sensing some change in the air, and the little radio with its four terminals and trailing aerial sits motionless on the floor between them all like a miracle.

  Take Us Home

  Usually Marie-Laure can solve the wooden puzzle boxes her father creates for her birthdays. Often they are shaped like houses and contain some hidden trinket. Opening them involves a cunning series of steps: find a seam with your fingernails, slide the bottom to the right, detach a side rail, remove a hidden key from inside the rail, unlock the top, and discover a bracelet inside.

  For her seventh birthday, a tiny wooden chalet stands in the center of the kitchen table where the sugar bowl ought to be. She slides a hidden drawer out of the base, finds a hidden compartment beneath the drawer, takes out a wooden key, and slots the key inside the chimney. Inside waits a square of Swiss chocolate.

  “Four minutes,” says her father, laughing. “I’ll have to work harder next year.”

  For a long time, though, unlike his puzzle boxes, his model of their neighborhood makes little sense to her. It is not like the real world. The miniature intersection of rue de Mirbel and rue Monge, for example, just a block from their apartment, is nothing like the real intersection. The real one presents an amphitheater of noise and fragrance: in the fall it smells of traffic and castor oil, bread from the bakery, camphor from Avent’s pharmacy, delphiniums and sweet peas and roses from the flower stand. On winter days it swims with the odor of roasting chestnuts; on summer evenings it becomes slow and drowsy, full of sleepy conversations and the scraping of heavy iron chairs.

  But her father’s model of the same intersection smells only of dried glue and sawdust. Its streets are empty, its pavements static; to her fingers, it serves as little more than a tiny and insufficient facsimile. He persists in asking Marie-Laure to run her fingers over it, to recognize different houses, the angles of streets. And one cold Tuesday in December, when Marie-Laure has been blind for over a year, her father walks her up rue Cuvier to the edge of the Jardin des Plantes.

  “Here, ma chérie, is the path we take every morning. Through the cedars up ahead is the Grand Gallery.”

  “I know, Papa.”

  He picks her up and spins her around three times. “Now,” he says, “you’re going to take us home.”

  Her mouth drops open.

  “I want you to think of the model, Marie.”

  “But I can’t possibly!”

  “I’m one step behind you. I won’t let anything happen. You have your cane. You know where you are.”

  “I do not!”

  “You do.”

  Exasperation. She cannot even say if the gardens are ahead or behind.

  “Calm yourself, Marie. One centimeter at a time.”

  “It’s far, Papa. Six blocks, at least.”

  “Six blocks is exactly right. Use logic. Which way should we go first?”

  The world pivots and rumbles. Crows
shout, brakes hiss, someone to her left bangs something metal with what might be a hammer. She shuffles forward until the tip of her cane floats in space. The edge of a curb? A pond, a staircase, a cliff? She turns ninety degrees. Three steps forward. Now her cane finds the base of a wall. “Papa?”

  “I’m here.”

  Six paces seven paces eight. A roar of noise—an exterminator just leaving a house, pump bellowing—overtakes them. Twelve paces farther on, the bell tied around the handle of a shop door rings, and two women come out, jostling her as they pass.

  Marie-Laure drops her cane; she begins to cry.

  Her father lifts her, holds her to his narrow chest.

  “It’s so big,” she whispers.

  “You can do this, Marie.”

  She cannot.

  Something Rising

  While the other children play hopscotch in the alley or swim in the canal, Werner sits alone in his upstairs dormer, experimenting with the radio receiver. In a week he can dismantle and rebuild it with his eyes closed. Capacitor, inductor, tuning coil, earpiece. One wire goes to ground, the other to sky. Nothing he’s encountered before has made so much sense.

  He harvests parts from supply sheds: snips of copper wire, screws, a bent screwdriver. He charms the druggist’s wife into giving him a broken earphone; he salvages a solenoid from a discarded doorbell, solders it to a resistor, and makes a loudspeaker. Within a month he manages to redesign the receiver entirely, adding new parts here and there and connecting it to a power source.

  Every evening he carries his radio downstairs, and Frau Elena lets her wards listen for an hour. They tune in to newscasts, concerts, operas, national choirs, folk shows, a dozen children in a semicircle on the furniture, Frau Elena among them, hardly more substantial than a child herself.

  We live in exciting times, says the radio. We make no complaints. We will plant our feet firmly in our earth, and no attack will move us.

  The older girls like musical competitions, radio gymnastics, a regular spot called Seasonal Tips for Those in Love that makes the younger children squeal. The boys like plays, news bulletins, martial anthems. Jutta likes jazz. Werner likes everything. Violins, horns, drums, speeches—a mouth against a microphone in some faraway yet simultaneous evening—the sorcery of it holds him rapt.

  Is it any wonder, asks the radio, that courage, confidence, and optimism in growing measure fill the German people? Is not the flame of a new faith rising from this sacrificial readiness?

  Indeed it does seem to Werner, as the weeks go by, that something new is rising. Mine production increases; unemployment drops. Meat appears at Sunday supper. Lamb, pork, wieners—extravagances unheard of a year before. Frau Elena buys a new couch upholstered in orange corduroy, and a range with burners in black rings; three new Bibles arrive from the consistory in Berlin; a laundry boiler is delivered to the back door. Werner gets new trousers; Jutta gets her own pair of shoes. Working telephones ring in the houses of neighbors.

  One afternoon, on the walk home from school, Werner stops outside the drugstore and presses his nose to a tall window: five dozen inch-tall storm troopers march there, each toy man with a brown shirt and tiny red armband, some with flutes, some with drums, a few officers astride glossy black stallions. Above them, suspended from a wire, a tinplate clockwork aquaplane with wooden pontoons and a rotating propeller makes an electric, hypnotizing orbit. Werner studies it through the glass for a long time, trying to understand how it works.

  Night falls, autumn in 1936, and Werner carries the radio downstairs and sets it on the sideboard, and the other children fidget in anticipation. The receiver hums as it warms. Werner steps back, hands in pockets. From the loudspeaker, a children’s choir sings, We hope only to work, to work and work and work, to go to glorious work for the country. Then a state-sponsored play out of Berlin begins: a story of invaders sneaking into a village at night.

  All twelve children sit riveted. 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.

  Light

  Tuesday after Tuesday she fails. She leads her father on six-block detours that leave her angry and frustrated and farther from home than when they started. But in the winter of her eighth year, to Marie-Laure’s surprise, she begins to get it right. She runs her fingers over the model in their kitchen, counting miniature benches, trees, lampposts, doorways. Every day some new detail emerges—each storm drain, park bench, and hydrant in the model has its counterpart in the real world.

  Marie-Laure brings her father closer to home before making a mistake. Four blocks three blocks two. And one snowy Tuesday in March, when he walks her to yet another new spot, very close to the banks of the Seine, spins her around three times, and says, “Take us home,” she realizes that, for the first time since they began this exercise, dread has not come trundling up from her gut.

  Instead she squats on her heels on the sidewalk.

  The faintly metallic smell of the falling snow surrounds her. Calm yourself. Listen.

  Cars splash along streets, and snowmelt drums through runnels; she can hear snowflakes tick and patter through the trees. She can smell the cedars in the Jardin des Plantes a quarter mile away. Here the Metro hurtles beneath the sidewalk: that’s the Quai Saint-Bernard. Here the sky opens up, and she hears the clacking of branches: that’s the narrow stripe of gardens behind the Gallery of Paleontology. This, she realizes, must be the corner of the quay and rue Cuvier.

  Six blocks, forty buildings, ten tiny trees in a square. This street intersects this street intersects this street. One centimeter at a time.

  Her father stirs the keys in his pockets. Ahead loom the tall, grand houses that flank the gardens, reflecting sound.

  She says, “We go left.”

  They start up the length of the rue Cuvier. A trio of airborne ducks threads toward them, flapping their wings in synchrony, making for the Seine, and as the birds rush overhead, she imagines she can feel the light settling over their wings, striking each individual feather.

  Left on rue Linné. Right on rue Daubenton. Three storm drains four storm drains five. Approaching on the left will be the open ironwork fence of the Jardin des Plantes, its thin spars like the bars of a great birdcage.

  Across from her now: the bakery, the butcher, the delicatessen.

  “Safe to cross, Papa?”

  “It is.”

  Right. Then straight. They walk up their street now, she is sure of it. One step behind her, her father tilts his head up and gives the sky a huge smile. Marie-Laure knows this even though her back is to him, even though he says nothing, even though she is blind—Papa’s thick hair is wet from the snow and standing in a dozen angles off his head, and his scarf is draped asymmetrically over his shoulders, and he’s beaming up at the falling snow.

  They are halfway up the rue des Patriarches. They are outside their building. Marie-Laure finds the trunk of the chestnut tree that grows past her third-floor window, its bark beneath her fingers.

  Old friend.

  In another half second her father’s hands are in her armpits, swinging her up, and Marie-Laure smiles, and he laughs a pure, contagious laugh, one she will try to remember all her life, father and daughter turning in circles on the sidewalk in front of their apartment house, laughing together while snow sifts through the branches above.

  Our Flag Flutters Before Us

  In Zollverein, in the spring of Werner’s tenth year, the two oldest boys at Children’s House—thirteen-year-old Hans Schilzer and fourteen-year-old Herribert Pomsel—shoulder secondhand knapsacks and goose-step into the woods. When they come back, they are members of the Hitler You
th.

  They carry slingshots, fashion spears, rehearse ambushes from behind snowbanks. They join a bristling gang of miners’ sons who sit in the market square, sleeves rolled up, shorts hiked to their hips. “Good evening,” they cry at passersby. “Or heil Hitler, if you prefer!”

  They give each other matching haircuts and wrestle in the parlor and brag about the rifle training they’re preparing for, the gliders they’ll fly, the tank turrets they’ll operate. Our flag represents the new era, chant Hans and Herribert, our flag leads us to eternity. At meals they chide younger children for admiring anything foreign: a British car advertisement, a French picture book.

  Their salutes are comical; their outfits verge on ridiculous. But Frau Elena watches the boys with wary eyes: not so long ago they were feral toddlers skulking in their cots and crying for their mothers. Now they’ve become adolescent thugs with split knuckles and postcards of the führer folded into their shirt pockets.

  Frau Elena speaks French less and less frequently whenever Hans and Herribert are present. She finds herself conscious of her accent. The smallest glance from a neighbor can make her wonder.

  Werner keeps his head down. Leaping over bonfires, rubbing ash beneath your eyes, picking on little kids? Crumpling Jutta’s drawings? Far better, he decides, to keep one’s presence small, inconspicuous. Werner has been reading the popular science magazines in the drugstore; he’s interested in wave turbulence, tunnels to the center of the earth, the Nigerian method of relaying news over distances with drums. He buys a notebook and draws up plans for cloud chambers, ion detectors, X-ray goggles. What about a little motor attached to the cradles to rock the babies to sleep? How about springs stretched along the axles of his wagon to help him pull it up hills?

  An official from the Labor Ministry visits Children’s House to speak about work opportunities at the mines. The children sit at his feet in their cleanest clothes. All boys, without exception, explains the man, will go to work for the mines once they turn fifteen. He speaks of glories and triumphs and how fortunate they’ll be to have fixed employment. When he picks up Werner’s radio and sets it back down without commenting, Werner feels the ceiling slip lower, the walls constrict.

  His father down there, a mile beneath the house. Body never recovered. Haunting the tunnels still.

  “From your neighborhood,” the official says, “from your soil, comes the might of our nation. Steel, coal, coke. Berlin, Frankfurt, Munich—they do not exist without this place. You supply the foundation of the new order, the bullets in its guns, the armor on its tanks.”

  Hans and Herribert examine the man’s leather pistol belt with dazzled eyes. On the sideboard, Werner’s little radio chatters.

  It says, Over these three years, our leader has had the courage to face a Europe that was in danger of collapse . . .

  It says, He alone is to be thanked for the fact that, for German children, a German life has once again become worth living.

  Around the World in Eighty Days

  Sixteen paces to the water fountain, sixteen back. Forty-two to the stairwell, forty-two back. Marie-Laure draws maps in her head, unreels a hundred yards of imaginary twine, and then turns and reels it back in. Botany smells like glue and blotter paper and pressed flowers. Paleontology smells like rock dust, bone dust. Biology smells like formalin and old fruit; it is loaded with heavy cool jars in which float things she has only had described for her: the pale coiled ropes of rattlesnakes, the severed hands of gorillas. Entomology smells like mothballs and oil: a preservative that, Dr. Geffard explains, is called naphthalene. Offices smell of carbon paper, or cigar smoke, or brandy, or perfume. Or all four.

  She follows cables and pipes, railings and ropes, hedges and sidewalks. She startles people. She never knows if the lights are on.

  The children she meets brim with questions: Does it hurt? Do you shut your eyes to sleep? How do you know what time it is?

  It doesn’t hurt, she explains. And there is no darkness, not the kind they imagine. Everything is composed of webs and lattices and upheavals of sound and texture. She walks a circle around the Grand Gallery, navigating between squeaking floorboards; she hears feet tramp up and down museum staircases, a toddler squeal, the groan of a weary grandmother lowering herself onto a bench.

  Color—that’s another thing people don’t expect. In her imagination, in her dreams, everything has color. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard station, projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver; pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light.