has nightmares. Silent Germans row up the Seine in synchrony; their skiffs glide as if through oil. They fly noiselessly beneath the bridge trestles; they have beasts with them on chains; their beasts leap out of the boats and sprint past the massifs of flowers, down the rows of hedges. They sniff the air on the steps to the Grand Gallery. Slavering. Ravenous. They surge into the museum, scatter into the departments. The windows go black with blood.
Dear Professor I dont know if youre getting these letters or if the radio station will forward this or is there even a radio station? We havent heard you in two months at least. Did you stop broadcasting or maybe is the problem ours? Theres a new radio transmitter in Brandenburg called the Deutschlandsender 3 my brother says it is three hundred thirty-something meters tall the second-tallest man-made construction in the world. It pushes basically everything else off the dial. Old Frau Stresemann, shes one of our neighbors, she says she can hear Deutschlandsender broadcasts in her tooth fillings. My brother said its possible if you have an antenna and a rectifier and something to serve as a speaker. He said you can use a section of wire fence to pick up radio signals, so maybe the silver in a tooth can too. I like to think about that. Dont you Professor? Songs in your teeth? Frau Elena says we have to come straight home from school now. She says were not Jews but were poor and thats almost as dangerous. Its a criminal offense now to tune into a foreign broadcast. You can get hard labor for it, things like breaking rocks fifteen hours a day. Or making nylon stockings or going down in the pits. No one will help me mail this letter not even my brother so I will do it myself.
Good Evening. Or Heil Hitler if You Prefer.
His fourteenth birthday arrives in May. It’s 1940 and no one laughs at the Hitler Youth now. Frau Elena prepares a pudding and Jutta wraps a piece of quartz in newspaper and the twins, Hannah and Susanne Gerlitz, march around the room impersonating soldiers. A five-year-old—Rolf Hupfauer—sits in the corner of the sofa, eyelids slipping heavily over his eyes. A new arrival—a baby girl—sits in Jutta’s lap and gums her fingers. Out the window, beyond the curtains, the flame atop the waste stack, high in the distance, flaps and shivers.
The children sing and devour the pudding, Frau Elena says, “Time’s up,” and Werner switches off his receiver. Everyone prays. His whole body feels heavy as he carries the radio up to the dormer. In the alleys, fifteen-year-old boys are making their way toward mine elevators, queuing up with their helmets and lamps outside the gates. He tries to imagine their descent, sporadic and muted lights passing and receding, cables rattling, everyone quiet, sinking down to that permanent darkness where men claw at the earth with a half mile of rock hunched on top of them.
One more year. Then they’ll give him a helmet and lamp and stuff him into a cage with the others.
It has been months since he last heard the Frenchman on the shortwave. A year since he held that water-stained copy of The Principles of Mechanics. Not so long ago he let himself dream of Berlin and its great scientists: Fritz Haber, inventor of fertilizer; Hermann Staudinger, inventor of plastics. Hertz, who made the invisible visible. All the great men doing things out there. I believe in you, Frau Elena used to say. I think you’ll do something great. Now, in his nightmares, he walks the tunnels of the mines. The ceiling is smooth and black; slabs of it descend over him as he treads. The walls splinter; he stoops, crawls. Soon he cannot raise his head, move his arms. The ceiling weighs ten trillion tons; it gives off a permeating cold; it drives his nose into the floor. Just before he wakes, he feels a splintering at the back of his skull.
Rainwater purls from cloud to roof to eave. Werner presses his forehead to the window of the dormer and peers through the drops, the roof below just one among a cluster of wet rooftops, hemmed in by the vast walls of the cokery and smelter and gasworks, the winding tower silhouetted against the sky, mine and mill running on and on, acre after acre, beyond his range of sight, to the villages, the cities, the ever-quickening, ever-expanding machine that is Germany. And a million men ready to set down their lives for it.
Good evening, he thinks. Or heil Hitler. Everyone is choosing the latter.
The war drops its question mark. Memos are distributed. The collections must be protected. A small cadre of couriers has begun moving things to country estates. Locks and keys are in greater demand than ever. Marie-Laure’s father works until midnight, until one. Every crate must be padlocked, every transport manifest kept in a secure place. Armored trucks rumble at the loading docks. There are fossils to be safeguarded, ancient manuscripts; there are pearls, gold nuggets, a sapphire as big as a mouse. There might be, thinks Marie-Laure, the Sea of Flames.
From a certain angle, the spring seems so calm: warm, tender, each night redolent and composed. And yet everything radiates tension, as if the city has been built upon the skin of a balloon and someone is inflating it toward the breaking point.
Bees work the blooming aisles of the Jardin des Plantes. The plane trees drop their seeds and huge drifts of fluff gather on the walkways.
If they attack, why would they attack, they would be crazy to attack.
To retreat is to save lives.
Deliveries stop. Sandbags appear around the museum gates. A pair of soldiers on the roof of the Gallery of Paleontology peer over the gardens with binoculars. But the huge bowl of the sky remains untracked: no zeppelins, no bombers, no superhuman paratroopers, just the last songbirds returning from their winter homes, and the quicksilver winds of spring transmuting into the heavier, greener breezes of summer.
Rumor, light, air. That May seems more beautiful than any Marie-Laure can remember. On the morning of her twelfth birthday, there is no puzzle box in place of the sugar bowl when she wakes; her father is too busy. But there is a book: the second Braille volume of Twenty Thousand Leagues Under the Sea, as thick as a sofa cushion.
A thrill rides all the way into the nails of her fingers. “How—?”
“You’re welcome, Marie.”
The walls of their flat tremble with the dragging of furniture, the packing of trunks, the nailing shut of windows. They walk to the museum, and her father remarks distractedly to the warder who meets them at the door, “They say we are holding the river.”
Marie-Laure sits on the floor of the key pound and opens her book. When part one left off, Professor Aronnax had traveled only six thousand leagues. So many left to go. But something strange happens: the words do not connect. She reads, During the entire day, a formidable school of sharks followed the ship, but the logic that is supposed to link each word to the next fails her.
Someone says, “Has the director left?”
Someone else says, “Before the end of the week.”
Her father’s clothes smell of straw; his fingers reek of oil. Work, more work, then a few hours of exhausted sleep before returning to the museum at dawn. Trucks carry off skeletons and meteorites and octopi in jars and herbarium sheets and Egyptian gold and South African ivory and Permian fossils.
On the first of June, airplanes fly over the city, extremely high, crawling through the stratus clouds. When the wind is down and nobody is running an engine nearby, Marie-Laure can stand outside the Gallery of Zoology and hear them: a mile-high purr. The following day, the radio stations begin disappearing.
