All the Light We Cannot See

by Anthony Doerr

  The doctor says, “You may dress,” and washes his hands at a sink.

  In the two months leading up to the invasion of France, Dupont fashioned three replicas for the museum. Did he use the real diamond to make them? He used a casting. He never saw the real diamond. Von Rumpel believed him.

  Three replicas. Plus the real stone. Somewhere on this planet among its sextillion grains of sand.

  Four stones, one of them in the basement of the museum, locked in a safe. Three more to find. There are moments when von Rumpel feels impatience rising in him like bile, but he forces himself to swallow it back. It will come.

  He buckles his belt. The doctor says, “We need to take a biopsy. You will want to telephone your wife.”

  Weakest (#3)

  The scales of cruelty tip. Maybe Bastian exacts some final vendetta; maybe Frederick goes looking for his only way out. All Werner knows for certain is that one April morning he wakes to find three inches of slush on the ground and Frederick not in his bunk.

  He does not show at breakfast or poetics or morning field exercises. Each story Werner hears contains its own flaws and contradictions, as though the truth is a machine whose gears are not meshing. First he hears that a group of boys took Frederick out and set up torches in the snow and told him to shoot the torches with his rifle—to prove he had adequate eyesight. Then Werner hears that they brought him charts for eye exams, and when he could not read them, they force-fed the charts to him.

  But what does the truth matter in this place? Werner imagines twenty boys closing over Frederick’s body like rats; he sees the fat, gleaming face of the commandant, throat spilling out of his collar, reclined like a king on some high-backed oak throne, while blood slowly fills the floor, rises past his ankles, past his knees . . .

  Werner skips lunch and walks in a daze to the school’s infirmary. He’s risking detention or worse; it’s a sunny, bright noon, but his heart is being crushed slowly in a vise, and everything is slow and hypnotic, and he watches his arm work as it pulls open the door as if he’s peering through several feet of blue water.

  A single bed with blood in it. Blood on the pillow and on the sheets and even on the enameled metal of the bed frame. Pink rags in a basin. Half-unrolled bandage on the floor. The nurse bustles over and grimaces at Werner. Outside of the kitchens, she is the only woman at the school.

  “Why so much blood?” he asks.

  She sets four fingers across her lips. Debating perhaps whether to tell him or pretend she does not know. Accusation or resignation or complicity.

  “Where is he?”

  “Leipzig. For surgery.” She touches a round white button on her uniform with what might be an inconveniently trembling finger. Otherwise her manner is entirely stern.

  “What happened?”

  “Shouldn’t you be at noontime meal?”

  Each time he blinks, he sees the men of his childhood, laid-off miners drifting through back alleys, men with hooks for fingers and vacuums for eyes; he sees Bastian standing over a smoking river, snow falling all around him. Führer, folk, fatherland. Steel your body, steel your soul.

  “When will he be back?”

  “Oh,” she says, a soft enough word. She shakes her head.

  A blue soapbox on the table. Above it a portrait of some foregone officer in a crumbling frame. Some previous boy sent through this place to die.

  “Cadet?”

  Werner has to sit on the bed. The nurse’s face seems to occupy multiple distances, a mask atop a mask atop a mask. What is Jutta doing at this exact moment? Wiping the nose of some wailing newborn or collecting newspapers or listening to presentations from army nurses or darning another sock? Praying for him? Believing in him?

  He thinks: I will never be able to tell her about this.

  Dearest Marie-Laure—

  The others in my cell are mostly kind. Some tell jokes. Here’s one: Have you heard about the Wehrmacht exercise program? Yes, each morning you raise your hands above your head and leave them there!

  Ha ha. My angel has promised to deliver this letter for me at great risk. It is very safe and nice to be out of the “Gasthaus” for a bit. We are building a road now and the work is good. My body is getting stronger. Today I saw an oak tree disguised as a chestnut tree. I think it is called a chestnut oak. I would like very much to ask some of the botanists in the gardens about it when we get home.

  I hope you and Madame and Etienne will keep sending things. They say we will be allowed to receive one parcel each, so something has to get through eventually. I doubt they would let me keep any tools but it would be wonderful if they would. You absolutely would not believe how pretty it is here, ma chérie, and how far we are from danger. I am incredibly safe, as safe as safe can be.

  Your Papa

  Grotto

  It’s summer and Marie-Laure is sitting in the alcove behind the library with Madame Manec and Crazy Harold Bazin. Through his copper mask, through a mouthful of soup, Harold says, “I want to show you something.”

  He leads Marie-Laure and Madame Manec down what Marie-Laure thinks is the rue du Boyer, though it could be the rue Vincent de Gournay or the rue des Hautes Salles. They reach the base of the ramparts and turn right, following a lane Marie-Laure has not been on before. They descend two steps, pass through a curtain of hanging ivy, and Madame Manec says, “Harold, please, what is this?” The alley grows narrower and narrower until they must walk single file, the walls close on either side, and then they stop. Marie-Laure can feel stone blocks mounting vertically on both sides to brush their shoulders: they seem to rise forever. If her father has built this alley into his model, her fingers have not discovered it yet.

  Harold rummages in his filthy trousers, breathing hard behind his mask. Where the wall of the ramparts should be, on their left, Marie-Laure hears a lock give way. A gate creaks open. “Watch your head,” he says, and helps her through. They clamber down into a cramped, moist space that positively reeks of the sea. “We’re beneath the wall. Twenty meters of granite on top of us.”

  Madame says, “Really, Harold, it’s gloomy as a graveyard in here,” but Marie-Laure ventures a bit farther, the soles of her shoes slipping, the floor angling down, and then her shoes touch water.

  “Feel this,” says Harold Bazin, and crouches and brings her hand to a curved wall which is completely studded with snails. Hundreds of them. Thousands.

  “So many,” she whispers.

  “I don’t know why. Maybe because they’re safe from gulls? Here, feel this, I’ll turn it over.” Hundreds of tiny, squirming hydraulic feet beneath a horny, ridged top: a sea star. “Blue mussels here. And here’s a dead stone crab, can you feel his claw? Watch your head now.”

  The surf breaks nearby; water purls past her shoes. Marie-Laure wades forward; the floor of the room is sandy, the water barely ankle-deep. From what she can tell, it’s a low grotto, maybe four yards long and half as wide, shaped like a loaf of bread. At the far end is a thick grate through which lustrous, clear sea wind washes. Her fingertips discover barnacles, weeds, a thousand more snails. “What is this place?”

  “Remember I told you about the dogs of the watch? A long time ago, city kennel keepers would keep the mastiffs in here, dogs as big as horses. At night a curfew bell would ring, and the dogs would be let loose onto the beaches to eat any sailor who dared come ashore. Somewhere beneath those mussels is a stone with the date 1165 scratched into it.”

  “But the water?”

  “Even at the highest tides, it doesn’t get more than waist-deep. Back then the tides might have been lower. We used to play in here as boys. Me and your grandfather. Sometimes your great-uncle too.”

  The tide flows past their feet. Everywhere mussels click and sigh. She thinks of the wild old seamen who lived in this town, smugglers and pirates, sailing over the dark seas, winding their ships between ten thousand reefs.

  “Harold, we should go now,” calls Madame Manec, her voice echoing. “This is no place for a young girl
.”

  Marie-Laure calls, “It’s fine, Madame.” Hermit crabs. Anemones sending out a tiny jet of seawater when she pokes them. Galaxies of snails. A story of life immanent in each.

  Finally Madame Manec coaxes them out of the kennel, and Crazy Harold leads Marie-Laure back through the gate and locks it behind them. Before they reach the Place Broussais, Madame Manec walking out front, he taps Marie-Laure’s shoulder. His whisper comes in her left ear; his breath smells like crushed insects. “Could you find that place again, do you think?”

  “I think so.”

  He puts something iron in her hand. “Do you know what it is?”

  Marie-Laure closes her fist. “It’s a key.”

  Intoxicated

  Every day there is word of another victory, another advance. Russia collapses like an accordion. In October the student body gathers around a big wireless to listen to the führer declare Operation Typhoon. German companies plant flags miles from Moscow; Russia will be theirs.

  Werner is fifteen. A new boy sleeps in Frederick’s bed. Sometimes at night, Werner sees Frederick when he is not there. His face appears over the edge of the upper bunk, or his silhouette presses binoculars to the windowpane. Frederick: who did not die but did not recover. Broken jaw, cracked skull, brain trauma. No one was punished, no one questioned. A blue automobile came to the school and Frederick’s mother got out and walked into the commandant’s residence and emerged soon afterward, tilted against the weight of Frederick’s duffel bag, looking very small. She climbed back into the car and it drove away.

  Volkheimer is gone; there are stories that he has become a fearsome sergeant in the Wehrmacht. That he led a platoon into the last town on the road to Moscow. Hacked off the fingers of dead Russians and smoked them in a pipe.

  The newest crop of cadets grow wild in their urgency to prove themselves. They sprint, shout, hurl themselves over obstacles; in field exercises they play a game where ten boys get red armbands and ten get black. The game ends when one team has all twenty.

  It seems to Werner as if all the boys around him are intoxicated. As if, at every meal, the cadets fill their tin cups not with the cold mineralized water of Schulpforta but with a spirit that leaves them glazed and dazzled, as if they ward off a vast and inevitable tidal wave of anguish only by staying forever drunk on rigor and exercise and gleaming boot leather. The eyes of the most bullheaded boys radiate a shining determination: every ounce of their attention has been trained to ferret out weakness. They study Werner with suspicion when he returns from Hauptmann’s lab. They do not trust that he’s an orphan, that he’s often alone, that his accent carries a whisper of the French he learned as a child.

  We are a volley of bullets, sing the newest cadets, we are cannonballs. We are the tip of the sword.

  Werner thinks of home all the time. He misses the sound of rain on the zinc roof above his dormer; the feral energy of the orphans; the scratchy singing of Frau Elena as she rocks a baby in the parlor. The smell of the coking plant coming in under the dawn, the first reliable smell of every day. 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. If you have a sister back home, you’re supposed to think of her as a pretty girl in a propaganda poster: rosy-cheeked, brave, steadfast. She’s whom you fight for. Whom you die for. But Jutta? Jutta sends letters that the school censor blacks out almost completely. She asks questions that should not be asked. Only Werner’s affiliation with Dr. Hauptmann—his privileged status as the favorite of the technical sciences professor—keeps him safe. A company in Berlin is producing their transceiver, and already some of their units are coming back from what Hauptmann calls “the field,” blown apart or burned or drowned in mud or defective, and Werner’s job is to rebuild them while Hauptmann talks into his telephone or writes requisitions for replacement parts or spends whole fortnights away from the school.

  Weeks pass without a letter to Jutta. Werner writes four lines, a smattering of platitudes—I am fine; I am so busy—and hands it to the bunk master. Dread swamps him.

  “You have minds,” Bastian murmurs one evening in the refectory, each boy hunching almost imperceptibly farther over his food as the commandant’s finger grazes the back of his uniform. “But minds are not to be trusted. Minds are always drifting toward ambiguity, toward questions, when what you really need is certainty. Purpose. Clarity. Do not trust your minds.”

  Werner sits in the lab late at night, alone again, and trolls the frequencies on the Grundig tube radio that Volkheimer used to borrow from Hauptmann’s office, searching for music, for echoes, for what, he is not sure. He sees circuits break apart and re-form. He sees Frederick staring into his book of birds; he sees the furor of the mines at Zollverein, the shunting cars, the banging locks, the trundling conveyors, smokestacks silting the sky day and night; he sees Jutta slashing back and forth with a lit torch as darkness encroaches from all sides. Wind presses against the walls of the lab—wind, the commandant loves to remind them, that comes all the way from Russia, a Cossack wind, the wind of candle-eating barbarians with hogs’ heads who will stop at nothing to drink the blood of German girls. Gorillas who must be wiped off the earth.

  Static static.

  Are you there?

  Finally he shuts off the radio. Into the stillness come the voices of his masters, echoing from one side of his head while memory speaks from the other.

  Open your eyes and see what you can with them before they close forever.

  The Blade and the Whelk

  The Hôtel-Dieu dining room is big and somber and full of people talking about U-boats off Gibraltar and the inequities of currency exchange and four-stroke marine diesel engines. Madame Manec orders two bowls of chowder that she and Marie-Laure promptly finish. She says she does not know what to do next—should they keep waiting?—so she orders two more.

  At last a man in rustling clothing sits down with them. “You are sure your name is Madame Walter?”

  Madame Manec says, “You are sure your name is René?”

  A pause.

  “And her?”

  “My accomplice. She can tell if someone is lying just by hearing him speak.”

  He laughs. They talk about the weather. Sea air exudes from the man’s clothes, as if he has been blown here by a gale. While he talks, he makes ungainly movements and bumps the table so that the spoons clatter in their bowls. Finally he says, “We admire your efforts, Madame.”

  The man who calls himself René starts talking extremely softly. Marie-Laure catches only phrases: “Look for special insignia on their license plates. WH for army, WL for air force, WM for navy. And you could note—or find someone who could—every vessel that comes in and out of the harbor. This information is very much in demand.”

  Madame Manec is quiet. If more is said that Marie-Laure cannot overhear—if there is a pantomime going on between them, notes passed, stratagems agreed upon—she cannot say. Some level of accord is reached, and soon enough she and Madame Manec are back in the kitchen at Number 4 rue Vauborel. Madame Manec clatters around in the cellar and hauls up canning supplies. This very morning, she announces, she has managed to procure what might be the last two crates of peaches in France. She hums as she helps Marie-Laure with the peeler.

  “Madame?”

  “Yes, Marie.”

  “What is a pseudonym?”

  “It is a fake name, an alternate name.”

  “If I were to have one, what sort of name could I choose?”

  “Well,” says Madame Manec. She pits and quarters another peach. “You can be anything. You can be the Mermaid if you like. Or Daisy? Violet?”

  “How about the Whelk? I think I would like to be the Whelk.”

  “The Whelk. That is an excellent ps
eudonym.”

  “And you, Madame? What would you like to be?”

  “Me?” Madame Manec’s knife pauses. Crickets sing in the cellar. “I think I would like to be the Blade.”

  “The Blade?”

  “Yes.” The perfume of the peaches makes a bright ruddy cloud.

  “The Blade?” repeats Marie-Laure. Then they both start laughing.

  Dear Werner,

  Why don’t you write? XXXXCENSOR MARKS HEREXXXX XXXXCENSOR MARKS HEREXXXX The foundries run day and night and the stacks never stop smoking and it’s been cold here so everyone burns everything to stay warm. Sawdust, hard coal, soft coal, lime, garbage. War widows XXXXCENSOR MARKS HEREXXXX XXXXCENSOR MARKS HEREXXXX and every day there are more. I’m working at the laundry with the twins, Hannah and Susanne, and Claudia Förster, you remember her, we’re mending tunics and trousers mostly. I’m getting better with a needle so at least I’m not pricking myself all the time. Right now I just finished my homework. Do you have homework? There are fabric shortages and people bring in slipcovers, curtains, old coats. Anything that can be used they say must be used. Just like all of us here. Ha. I found this under your old cot. Seems like you could use it.

  Love,

  Jutta

  Inside the homemade envelope waits Werner’s childhood notebook, his handwriting across the cover: Questions. Across its pages swarm boyhood drawings, inventions: an electric bed heater he wanted to build for Frau Elena; a bicycle with chains to drive both wheels. Can magnets affect liquids? Why do boats float? Why do we feel dizzy when we spin?

  A dozen empty pages at the back. Juvenile enough, presumably, to make it past the censor.

  Around him sounds the din of boots, clatter of rifles. Stocks on the ground, barrels against the wall. Grab cups off hooks, plates off racks. Queue up for boiled beef. Over him breaks a wave of homesickness so acute that he has to clamp his eyes.

  Alive Before You Die

  Madame Manec goes into Etienne’s study on the fifth floor. Marie-Laure listens on the stairs.

  “You could help,” Madame says. Someone—likely Madame—opens a window, and the bright air of the sea washes onto the landing, stirring everything: Etienne’s curtains, his papers, his dust, Marie-Laure’s longing for her father.

  Etienne says, “Please, Madame. Close the window. They are rounding up blackout offenders.”

  The window stays open. Marie-Laure creeps down another stair.

  “How do you know whom they round up, Etienne? A woman in Rennes was given nine months in prison for naming one of her hogs Goebbels, did you know that? A palm reader in Cancale was shot for predicting de Gaulle would return in the spring. Shot!”

  “Those are only rumors, Madame.”

  “Madame Hébrard says that a Dinard man—a grandfather, Etienne—was given two years in prison for wearing the Cross of Lorraine under his collar. I heard they’re going to turn the whole city into a big ammunition dump.”

  Her great-uncle laughs softly. “It all sounds like something a sixth-former would make up.”

  “Every rumor carries a seed of truth, Etienne.”

  All of Etienne’s adult life, Marie-Laure realizes, Madame Manec has tended his fears. Skirted them, mitigated them. She creeps down one more stair.

  Madame Manec is saying, “You know things, Etienne. About maps, tides, radios.”

  “It’s already too dangerous, all those women in my house. People have eyes, Madame.”

  “Who?”

  “The perfumer, for one.”

  “Claude?” She snorts. “Little Claude is too busy smelling himself.”