All the Light We Cannot See

The Professor


Etienne is reading Darwin to Marie-Laure when he stops midsyllable.
     



“Uncle?”

He breathes nervously, out of pursed lips, as if blowing on a spoonful of hot soup. He whispers, “Someone’s here.”

Marie-Laure can hear nothing. No footfalls, no knocks. Madame Manec whisks a broom across the landing one floor up. Etienne hands her the book. She can hear him unplug a radio, then tangle himself in its cords. “Uncle?” she says again, but he is leaving his study, floundering downstairs—are they in danger?—and she follows him to the kitchen, where she can hear him laboring to slide the kitchen table out of the way.

He pulls up a ring in the center of the floor. Beneath a hatch waits a square hole out of which washes a damp, frightening smell. “One step down, hurry now.”

Is this a cellar? What has her uncle seen? She has set one foot on the top rung of a ladder when the blocky shoes of Madame Manec come clomping into the kitchen. “Really, Master Etienne, please!”

Etienne’s voice from below: “I heard something. Someone.”

“You are frightening her. It is nothing, Marie-Laure. Come now.”

Marie-Laure backs out. Below her, her great-uncle whispers nursery rhymes to himself.

“I can sit with him for a bit, Madame. Maybe we could read some more of our book, Uncle?”

The cellar, she gathers, is merely a dank hole in the ground. They sit awhile on a rolled carpet with the trapdoor open and listen to Madame Manec hum as she makes tea in the kitchen above them. Etienne trembles lightly beside her.

“Did you know,” says Marie-Laure, “that the chance of being hit by lightning is one in one million? Dr. Geffard taught me that.”

“In one year or in one lifetime?”

“I’m not sure.”

“You should have asked.”

Again those quick, pursed exhalations. As though his whole body urges him to flee.

“What happens if you go outside, Uncle?”

“I get uneasy.” His voice is almost inaudible.

“But what makes you uneasy?”

“Being outside.”

“What part?”

“Big spaces.”

“Not all spaces are big. Your street is not that big, is it?”

“Not as big as the streets you are used to.”

“You like eggs and figs. And tomatoes. They were in our lunch. They grow outside.”

He laughs softly. “Of course they do.”

“Don’t you miss the world?”

He is quiet; so is she. Both ride spirals of memory.

“I have the whole world here,” he says, and taps the cover of Darwin. “And in my radios. Right at my fingertips.”

Her uncle seems almost a child, monastic in the modesty of his needs and wholly independent of any sort of temporal obligations. And yet she can tell he is visited by fears so immense, so multiple, that she can almost feel the terror pulsing inside him. As though some beast breathes all the time at the windowpanes of his mind.

“Could you read some more, please?” she asks, and Etienne opens the book and whispers, “Delight itself is a weak term to express the feelings of a naturalist who, for the first time, has wandered by himself into a Brazilian forest . . .”

After a few paragraphs, Marie-Laure says without preamble, “Tell me about that bedroom upstairs. Across from the one I sleep in.”

He stops. Again his quick, nervous breaths.

“There’s a little door at the back of it,” she says, “but it’s locked. What’s through there?”

He is silent for long enough that she worries she has upset him. But then he stands, and his knees crack like twigs.

“Are you getting one of your headaches, Uncle?”

“Come with me.”

They wind all the way up the stairs. On the sixth-floor landing, they turn left, and he pushes open the door to what was once her grandfather’s room. She has already run her hands over its contents many times: a wooden oar nailed to a wall, a window dressed with long curtains. Single bed. Model ship on a shelf. At the back stands a wardrobe so large, she cannot reach its top nor stretch her arms wide enough to touch both sides at once.

“These are his things?”

Etienne unlatches the little door beside the wardrobe. “Go on.”

She gropes through. Dry, confined heat. Mice scuttle. Her fingers find a ladder.

“It leads to the garret. It’s not high.”

Seven rungs. At the top, she stands; she has the sense of a long slope-walled space pressed beneath the gable of the roof. The peak of the ceiling is just taller than she is.

Etienne climbs up behind her and takes her hand. Her feet find cables on the floor. They snake between dusty boxes, overwhelm a sawhorse; he leads her through a thicket of them to what feels like an upholstered piano bench at the far end, and helps her sit.

“This is the attic. That’s the chimney in front of us. Put your hands on the table; there you are.” Metal boxes cover the tabletop: tubes, coils, switches, meters, at least one gramophone. This whole part of the attic, she realizes, is some sort of machine. The sun bakes the slates above their heads. Etienne secures a headset over Marie-Laure’s ears. Through the headphones, she can hear him turn a crank, switch on something, and then, as if positioned directly in the center of her head, a piano plays a sweet, simple song.

The song fades, and a staticky voice says, Consider a single piece glowing in your family’s stove. See it, children? That chunk of coal was once a green plant, a fern or reed that lived one million years ago, or maybe two million, or maybe one hundred million . . .

After a little while, the voice gives way to the piano again. Her uncle pulls off the headset. “As a boy,” he says, “my brother was good at everything, but his voice was what people commented on most. The nuns at St. Vincent’s wanted to build choirs around it. We had a dream together, Henri and I, to make recordings and sell them. He had the voice and I had the brains and back then everyone wanted gramophones. And hardly anyone was making programs for children. So we contacted a recording company in Paris, and they expressed interest, and I wrote ten different scripts about science, and Henri rehearsed them, and finally we started recording. Your father was just a boy, but he would come around to listen. It was one of the happiest times of my life.”

“Then there was the war.”

“We became signalmen. Our job, mine and your grandfather’s, was to knit telegraph wires from command positions at the rear to field officers at the front. Most nights the enemy would shoot pistol flares called ‘very lights’ over the trenches, short-lived stars suspended in the air from parachutes, meant to illuminate possible targets for snipers. Every soldier within reach of the glare would freeze while it lasted. Some hours, eighty or ninety of these flares would go off, one after another, and the night would turn stark and strange in that magnesium glow. It would be so quiet, the only sound the fizzling of the flares, and then you’d hear the whistle of a sniper’s bullet streak out of the darkness and bury itself in the mud. We would stay as close together as we could. But I’d become paralyzed sometimes; I could not move any part of my body, not even my fingers. Not even my eyelids. Henri would stay right beside me and whisper those scripts, the ones we recorded. Sometimes all night. Over and over. As though weaving some kind of protective screen around us. Until morning came.”
     



“But he died.”

“And I did not.”

This, she realizes, is the basis of his fear, all fear. That a light you are powerless to stop will turn on you and usher a bullet to its mark.

“Who built all of this, Uncle? This machine?”

“I did. After the war. Took me years.”

“How does it work?”

“It’s a radio transmitter. This switch here”—he guides her hand to it—“powers up the microphone, and this one runs the phonograph. Here’s the premodulation amplifier, and these are the vacuum tubes, and these are the coils. The antenna telescopes up along the chimney. Twelve meters. Can you feel the lever? Think of energy as a wave and the transmitter as sending out smooth cycles of those waves. Your voice creates a disruption in those cycles . . .”

She stops listening. It’s dusty and confusing and mesmerizing all at once. How old must all this be? Ten years? Twenty? “What did you transmit?”

“The recordings of my brother. The gramophone company in Paris wasn’t interested anymore, but every night I played the ten recordings we’d made, until most of them were worn out. And his song.”

“The piano?”

“Debussy’s ‘Clair de Lune.’?” He touches a metal cylinder with a sphere stuck on top. “I’d just tuck the microphone into the bell of the gramophone, and voilà.”

She leans over the microphone, says, “Hello out there.” He laughs his feathery laugh. “Did it ever reach any children?” she asks.

“I don’t know.”

“How far can it transmit, Uncle?”

“Far.”

“To England?”

“Easily.”

“To Paris?”

“Yes. 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?”

“And Debussy.”

“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.”





To My Dear Sister Jutta—

Some of the boys whisper that Dr. Hauptmann is connected to very powerful ministers. He won’t answer XXXXCENSOR MARKS HEREXXXX. But he wants me to assist him all the time! I go to his workshop in the evenings and he sets me to work on circuits for a radio he is testing. Trigonometry too. He says to be as creative as I can; he says creativity fuels the Reich. He has this big upperclassman, they call him the Giant, stand over me with a stopwatch to test how fast I can calculate. Triangles triangles triangles. I probably do fifty calculations a night. They don’t tell me why. You would not believe the copper wire here; they have XXXXCENSOR MARKS HEREXXXX. Everyone gets out of the way when the Giant comes through.

Dr. Hauptmann says we can do anything, build anything. He says the führer has collected scientists to help him control the weather. He says the führer will develop a rocket that can reach Japan. He says the führer will build a city on the moon.

To My Dear Sister Jutta—

Today in field exercises the commandant told us about Reiner Schicker. He was a young corporal and his captain needed someone to go behind enemy lines to map their defenses. The captain asked for volunteers and Reiner Schicker was the only one who stood up. But the next day Reiner Schicker got caught. The very next day! The Poles captured him and tortured him with electricity. They gave him so much electricity that his brain liquefied, said the commandant, but before they did, Reiner Schicker said something amazing. He said, “I only regret that I have but one life to lose for my country.”

Everyone says there is a great test coming. A test harder than all the other tests.

Frederick says that story about Reiner Schicker is XXXXCENSOR MARKS HEREXXXX XXXXCENSOR MARKS HEREXXXX Just being around the Giant—his name is Frank Volkheimer—means the other boys treat me with respect. I come up only to his waist practically. He seems a man, not a boy. He possesses the loyalty of Reiner Schicker. In his hands and heart and bones. Please tell Frau Elena I am eating lots here but that no one makes flour cakes like hers or at all really. Tell little Siegfried to look lively. I think of you every day. Sieg heil.

To My Dear Sister Jutta—

Yesterday was Sunday and for field exercises we went into the forest. Most hunters are at the front so the woods are full of marten and deer. The other boys sat in the blinds and talked about magnificent victories and how soon we will cross the Channel and destroy the XXXCENSOR MARKS HEREXXXX and Dr. Hauptmann’s dogs came back with three rabbits one for each but Frederick, he came back with about a thousand berries in his shirt and his sleeves were ripped from the brambles and his binocular bag was torn open and I said, You’re going to catch hell and he looked down at his clothes like he’d never seen them before! Frederick knows all the birds just by hearing them. Above the lake we heard skylarks and lapwings and plovers and a harrier hen and probably ten others I’ve forgotten. You would like Frederick I think. He sees what other people don’t. Hope your cough is better and Frau Elena’s too. Sieg heil.





Perfumer


His name is Claude Levitte but everyone calls him Big Claude. For a decade he has run a parfumerie on the rue Vauborel: a straggling business that prospers only when the cod are being salted and the stones of the town itself begin to stink.

But new opportunities have arrived, and Big Claude is not one to miss an opportunity. He is paying farmers near Cancale to butcher lambs and rabbits; Claude buckles the meat into his wife’s matching vinyl suitcases and carries them himself by train to Paris. It is easy: some weeks he can make as much as five hundred francs. Supply and demand. There is always paperwork, of course; some official up the chain catches a whiff and wants a percentage. It takes a mind like Claude’s to navigate the complexities of the business.

Today he is overheating; sweat trickles down his back and sides. Saint-Malo roasts. October is here, and bright cold winds ought to pour off the ocean; leaves ought to tumble down the alleys. But the wind has come and gone. As if deciding it did not like the changes here.

All afternoon Claude hunkers inside his shop above the hundreds of little bottles of florals and orientals and fougères in his vitrine, pinks and carmines and baby blues, and no one enters, and an oscillating electric fan blows across his face to the left, then to the right, and he does not read or move at all except to periodically reach a hand beneath his stool and grab a handful of biscuits from a round tin and stuff them into his mouth.
     



Around four P.M., a small company of German soldiers strolls up the rue Vauborel. They are lean, salmon-faced, and earnest; they have serious eyes; they carry their weapons barrel-down, slinging them over their shoulders like clarinets. They laugh to one another and seem touched underneath their helmets with a beneficent gold.

Claude understands that he ought to resent them, but he admires their competence and manners, the clean efficiency with which they move. They always seem to be going somewhere and never doubt that it is the right place to be going. Something his own country has lacked.

The soldiers turn down the rue St. Philippe and are gone. Claude’s fingers trace ovals across the top of his vitrine. Upstairs his wife runs a vacuum cleaner; he can hear it coursing round and round. He is nearly asleep when he sees the Parisian who has been living three doors down exit the house of Etienne LeBlanc. A thin beak-nosed man who skulks outside the telegraph office, whittling little wooden boxes.

The Parisian walks in the same direction as the German soldiers, placing the heel of one foot against the toe of the other. He reaches the end of the street, scribbles something on a pad, turns one hundred and eighty degrees, and walks back. When he reaches the end of the block, he stares up at the Sajers’ house and makes several more notes. Glancing up, glancing down. Measuring. Biting the eraser of his pencil as though uneasy.

Big Claude goes to the window. This too could be an opportunity. Occupation authorities will want to know that a stranger is pacing off distances and making drawings of houses. They will want to know what he looks like, who is sponsoring this activity. Who has sanctioned it.

This is good. This is excellent.





Time of the Ostriches


Still they do not return to Paris. Still she does not go outside. Marie-Laure counts every day she has been shut up in Etienne’s house. One hundred and twenty. One hundred and twenty-one. She thinks of the transmitter in the attic, how it sent her grand-father’s voice flying over the sea—Consider a single piece glowing in your family’s stove—sailing like Darwin from Plymouth Sound to Cape Verde to Patagonia to the Falkland Islands, over waves, across borders.

“Once you’re done with the model,” she asks her father, “does that mean I can go out?”

His sandpaper does not stop.

The stories Madame Manec’s visitors bring into the kitchen are terrifying and difficult to believe. Parisian cousins nobody has heard from in decades now write letters begging for capons, hams, hens. The dentist is selling wine through the mail. The perfumer is slaughtering lambs and carrying them in suitcases on the train to Paris, where he sells the meat for an enormous profit.

In Saint-Malo, people are fined for locking their doors, for keeping doves, for hoarding meat. Truffles disappear. Sparkling wine disappears. No eye contact. No chatter in doorways. No sunbathing, no singing, no lovers strolling the ramparts in the evenings—such rules are not written down, but they may as well be. Icy winds whirl in from the Atlantic and Etienne barricades himself inside his brother’s old room and Marie-Laure endures the slow rain of hours by running her fingers over his seashells down in his study, ordering them by size, by species, by morphology, checking and rechecking their order, trying to make sure she has not missorted a single one.

Surely she could go out for a half hour? On the arm of her father? And yet each time her father refuses, a voice echoes up from a chamber of her memory: They’ll probably take the blind girls before they take the gimps.

Make them do things.

Outside the city walls, a few military boats cruise to and fro, and the flax is bundled and shipped and woven into rope or cables or parachute cord, and airborne gulls drop oysters or mussels or clams, and the sudden clatter on the roof makes Marie-Laure bolt upright in bed. The mayor announces a new tax, and some of Madame Manec’s friends mutter that he has sold them out, that they need un homme à poigne, but others ask what the mayor is supposed to do. It becomes known as the time of the ostriches.

“Do we have our heads in the sand, Madame? Or do they?”

“Maybe everybody does,” she murmurs.

Madame Manec has taken to falling asleep at the table beside Marie-Laure. It takes her a long time to carry meals the five flights to Etienne’s room, wheezing the whole way. Most mornings, Madame is baking before anyone is awake; at midmorning she goes out into the city, cigarette in her mouth, to bring cakes or pots of stew to the sick or the stranded, and upstairs Marie-Laure’s father works on the model, sanding, nailing, cutting, measuring, each day working more frenetically than the last, as if against some deadline known only to him.





Weakest


The warrant officer in charge of field exercises is the commandant, an overzealous schoolmaster named Bastian with an expansive walk and a round belly and a coat quivering with war medals. His face is scarred from smallpox, and his shoulders look as though they’ve been hewn from soft clay. He wears hobnailed jackboots every second of every day, and the cadets joke that he kicked his way out of the womb with them.

Bastian demands that they memorize maps, study the angle of the sun, cut their own belts from cowhide. Every afternoon, whatever the weather, he stands in a field bawling state-sown dicta: “Prosperity depends on ferocity. The only things that keep your precious grandmothers in their tea and cookies are the fists at the end of your arms.”

An antique pistol dangles from his belt; the most eager cadets look up at him with shining eyes. To Werner, he looks capable of severe and chronic violence.

“The corps is a body,” he explains, twirling a length of rubber hose so that its tip whirs inches from a boy’s nose. “No different from a man’s body. Just as we ask you to each drive the weakness from your own bodies, so you must also learn to drive the weaknesses from the corps.”

One October afternoon, Bastian plucks a pigeon-toed boy from the line. “You’ll be first. Who are you?”

“B?cker, sir.”

“B?cker. Tell us, B?cker. Who is the weakest member of this group?”

Werner quails. He is smaller than every cadet in his year. He tries to expand his chest, stand as tall as he can. B?cker’s gaze rakes across the rows. “Him, sir?”

Werner exhales; B?cker has chosen a boy far to Werner’s right, one of the few boys with black hair. Ernst Somebody. A safe enough choice: Ernst is in fact a slow runner. A boy who has yet to grow into his horsey legs.

Bastian calls Ernst forward. The boy’s bottom lip trembles as he turns to face the group.
     



“Getting all weepy won’t help,” says Bastian, and gestures vaguely to the far end of the field, where a line of trees cuts across the weeds. “You’ll have a ten-second head start. Make it to me before they make it to you. Got it?”

Ernst neither nods nor shakes his head. Bastian feigns frustration. “When I raise my left hand, you run. When I raise my right hand, the rest of you fools run.” Off Bastian waddles, rubber hose around his neck, pistol swinging at his side.

Sixty boys wait, breathing. Werner thinks of Jutta with her opalescent hair and quick eyes and blunt manners: she would never be mistaken for the weakest. Ernst Somebody is shaking everywhere now, all the way down to his wrists and ankles. When Bastian is maybe two hundred yards away, he turns and raises his left hand.

Ernst runs with his arms nearly straight and his legs wide and unhinged. Bastian counts down from ten. “Three,” yells his faraway voice. “Two. One.” At zero, his right arm goes up and the group unleashes. The dark-haired boy is at least fifty yards in front of them, but immediately the pack begins to gain.

Hurrying, scampering, running hard, fifty-nine fourteen-year-olds chase one. Werner keeps to the center of the group as it strings out, his heart beating in dark confusion, wondering where Frederick is, why they’re chasing this boy, and what they’re supposed to do if they catch him.

Except in some atavistic part of his brain, he knows exactly what they’ll do.

A few outrunners are exceptionally fast; they gain on the lone figure. Ernst’s limbs pump furiously, but he clearly is not accustomed to sprinting, and he loses steam. The grass waves, the trees are transected by sunlight, the pack draws closer, and Werner feels annoyed: Why couldn’t Ernst be faster? Why hasn’t he practiced? How did he make it through the entrance exams?

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.





Mandatory Surrender


Marie-Laure has to badger her father three times before he’ll read the notice aloud: Members of the population must relinquish all radio receivers now in their possession. Radio sets are to be delivered to 27 rue de Chartres before tomorrow noon. Anyone failing to carry out this order will be arrested as a saboteur.

No one says anything for a moment, and inside Marie-Laure, an old anxiety lumbers to its feet. “Is he—?”

“In your grandfather’s old room,” says Madame Manec.

Tomorrow noon. Half the house, thinks Marie-Laure, is taken up by wireless receivers and the parts that go into them.

Madame Manec raps on the door to Henri’s room and receives no reply. In the afternoon they box up the equipment in Etienne’s study, Madame and Papa unplugging radios and lowering them into crates, Marie-Laure sitting on the davenport listening to the sets go off one by one: the old Radiola Five; a G.M.R. Titan; a G.M.R. Orphée. A Delco thirty-two-volt farm radio that Etienne had shipped all the way from the United States in 1922.

Her father wraps the largest in cardboard and uses an ancient wheeled dolly to thump it down the stairs. Marie-Laure sits with her fingers going numb in her lap and thinks of the machine in the attic, its cables and switches. A transmitter built to talk to ghosts. Does it qualify as a radio receiver? Should she mention it? Do Papa and Madame Manec know? They seem not to. In the evening, fog moves into the city, trailing a cold, fishy smell, and they eat potatoes and carrots in the kitchen and Madame Manec leaves a dish outside Henri’s door and taps but the door does not open and the food remains untouched.

“What,” asks Marie-Laure, “will they do with the radios?”

“Send them to Germany,” says Papa.

“Or pitch them in the sea,” says Madame Manec. “Come, child, drink your tea. It’s not the end of the world. I’ll put an extra blanket on your bed tonight.”

In the morning Etienne remains shut inside his brother’s room. If he knows what is happening in his house, Marie-Laure cannot tell. At ten A.M. her father starts wheeling loads to the rue de Chartres, one trip, two trips, three, and when he comes back and loads the dolly with the last radio, Etienne still has not appeared. Marie-Laure holds Madame Manec’s hand as she listens to the gate clang shut, to the cart’s axle bounce as her father pushes it down the rue Vauborel, and to the silence that reinstalls itself after he’s gone.





Museum


Sergeant Major Reinhold von Rumpel wakes early. He upholsters himself in his uniform, pockets his loupe and tweezers, rolls up his white gloves. By six A.M. he’s in the hotel lobby in full dress, polish on his shoes, pistol case snapped shut. The hotelkeeper brings him bread and cheese in a basket made from dark wicker, covered nicely with a cotton napkin: everything shipshape.

There is great pleasure in being out in the city before the sun is up, streetlights glowing, the hum of a Parisian day commencing. As he walks up the rue Cuvier and turns into the Jardin des Plantes, the trees look misty and significant: parasols held up just for him.

He likes being early.

At the entrance to the Grand Gallery, two night warders stiffen. They glance at the stripes on his collar patch and sleeves; the cords in their throats tighten. A small man in black flannel comes down the staircase apologizing in German; he says he is the assistant director. He did not expect the sergeant major for another hour.

“We can speak French,” says von Rumpel.

Behind him scurries a second man with eggshell skin and an evident terror of eye contact.

“We would be honored to show you the collections, Sergeant Major,” breathes the assistant director. “This is the mineralogist, Professor Hublin.” Hublin blinks twice, gives the impression of a penned animal. The pair of warders watch from the end of the corridor.

“May I take your basket?”

“It’s no trouble.”

The Gallery of Mineralogy is so long, von Rumpel can hardly see the end of it. In sections, display case after display case sits vacant, little shapes on their felted shelves marking the silhouettes of whatever has been removed. Von Rumpel strolls with his basket on his arm, forgetting to do anything but look. What treasures they left behind! A gorgeous set of yellow topaz crystals on a gray matrix. A great pink hunk of beryl like a crystallized brain. A violet column of tourmaline from Madagascar that looks so rich he cannot resist the urge to stroke it. Bournonite; apatite on muscovite; natural zircon in a spray of colors; dozens more minerals he cannot name. These men, he thinks, probably handle more gemstones in a week than he has seen in his lifetime.
     



Each piece is registered in huge organizational folios that have taken centuries to amass. The pallid Hublin shows him pages. “Louis XIII began the collection as a Cabinet of Medicines, jade for kidneys, clay for the stomach, and so on. There were already two hundred thousand entries in the catalog by 1850, a priceless mineral heritage . . .”

Every now and then von Rumpel pulls his notebook from his pocket and makes a notation. He takes his time. When they reach the end, the assistant director laces his fingers across his belt. “We hope you are impressed, Sergeant Major? You enjoyed your tour?”

“Very much.” The electric lights in the ceiling are far apart, and the silence in the huge space is oppressive. “But,” he says, enunciating very slowly, “what about the collections that are not on public display?”

The assistant director and the mineralogist exchange a glance. “You have seen everything we can show you, Sergeant Major.”

Von Rumpel keeps his voice polite. Civilized. Paris is not Poland, after all. Waves must be made carefully. Things cannot simply be seized. What did his father used to say? See obstacles as opportunities, Reinhold. See obstacles as inspirations. “Is there somewhere,” he says, “we can talk?”

The assistant director’s office occupies a dusty third-floor corner that overlooks the gardens: walnut-paneled, underheated, decorated with pinned butterflies and beetles in alternating frames. On the wall behind his half-ton desk hangs the only image: a charcoal portrait of the French biologist Jean-Baptiste Lamarck.

The assistant director sits behind the desk, and von Rumpel sits in front with his basket between his feet. The mineralogist stands. A long-necked secretary brings tea.

Hublin says, “We are always acquiring, yes? All across the world, industrialization endangers mineral deposits. We collect as many types of minerals as exist. To a curator, none is superior to any other.”

Von Rumpel laughs. He appreciates that they are trying to play the game. But don’t they understand that the winner has already been determined? He sets down his cup of tea and says, “I would like to see your most protected specimens. I am most specifically interested in a specimen I believe you have only recently brought out from your vaults.”

The assistant director sweeps his left hand through his hair and releases a blizzard of dandruff. “Sergeant Major, the minerals you’ve seen have aided discoveries in electrochemistry, in the fundamental laws of mathematical crystallography. The role of a national museum is to operate above the whims and fashions of collectors, to safeguard for future generations the—”

Von Rumpel smiles. “I will wait.”

“You misunderstand us, monsieur. You have seen everything we can show you.”

“I will wait to see what you cannot show me.”

The assistant director peers into his tea. The mineralogist shifts from foot to foot; he appears to be wrestling with an interior fury. “I am quite gifted at waiting,” von Rumpel says in French. “It is my one great skill. I was never much good at athletics or mathematics, but even as a boy, I possessed unnatural patience. I would wait with my mother while she got her hair styled. I would sit in the chair and wait for hours, no magazine, no toys, not even swinging my legs back and forth. All the mothers were very impressed.”

Both Frenchmen fidget. Beyond the door of the office, what ears listen? “Please sit if you’d like,” von Rumpel says to Hublin, and pats the chair next to him. But Hublin does not sit. Time passes. Von Rumpel swallows the last of his tea and sets the cup very carefully on the edge of the assistant director’s desk. Somewhere an electric fan whirs to life, runs awhile, and shuts down.

Hublin says, “It’s not clear what we’re waiting for, Sergeant Major.”

“I’m waiting for you to be truthful.”

“If I might—”

“Stay,” says von Rumpel. “Sit. I’m sure if one of you were to call out instructions, the mademoiselle who looks like a giraffe will hear, will she not?”

The assistant director crosses and recrosses his legs. By now it is past noon. “Perhaps you would like to see the skeletons?” tries the assistant director. “The Hall of Man is quite spectacular. And our zoological collection is beyond—”

“I would like to see the minerals you do not reveal to the public. One in particular.”

Hublin’s throat splotches pink and white. He does not take a seat. The assistant director seems resigned to an impasse and pulls a thick perfect-bound stack of paper from a drawer and begins to read. Hublin shifts as if to leave, but von Rumpel merely says, “Please, stay until we have resolved this.”

Waiting, thinks von Rumpel, is a kind of war. You simply tell yourself that you must not lose. The assistant director’s telephone rings, and he reaches to pick it up, but von Rumpel holds up a hand, and the phone rings ten or eleven times and then falls quiet. What might be a full half hour passes, Hublin staring at his shoelaces, the assistant director making occasional notes in his manuscript with a silver pen, von Rumpel remaining completely motionless, and then there is a distant tapping on the door.

“Gentlemen?” comes the voice.

Von Rumpel calls, “We are fine, thank you.”

The assistant director says, “I have other matters to attend to, Sergeant Major.”

Von Rumpel does not raise his voice. “You will wait here. Both of you. You will wait here with me until I see what I have come to see. And then we will all go back to our important jobs.”

The mineralogist’s chin trembles. The fan starts again, then dies. A five-minute timer, guesses von Rumpel. He waits for it to start and die one more time. Then he lifts his basket into his lap. He points to the chair. His voice is gentle. “Sit, Professor. You will be more comfortable.”

Hublin does not sit. Two o’clock out in the city, and bells toll in a hundred churches. Walkers down on the paths. The last of autumn’s leaves spiraling to earth.

Von Rumpel unrolls the napkin across his lap, lifts out the cheese. He breaks the bread slowly, sending a rich cascade of crust onto his napkin. As he chews, he can almost hear their guts rumbling. He offers them nothing. When he finishes, he wipes the corners of his mouth. “You read me wrong, messieurs. I am not an animal. I am not here to raze your collections. They belong to all of Europe, to all of humanity, do they not? I am here only for something small. Something smaller than the bone of your kneecaps.” He looks at the mineralogist as he says it. Who looks away, crimson.
     



The assistant director says, “This is absurd, Sergeant Major.”

Von Rumpel folds his napkin and places it back in the basket and sets the basket on the ground. He licks the tip of his finger and picks the crumbs off his tunic one by one. Then he looks directly at the assistant director. “The Lycée Charlemagne, is that right? On the rue Charlemagne?”

The skin around the assistant director’s eyes stretches.

“Where your daughter goes to school?” Von Rumpel turns in his chair. “And the College Stanislas, isn’t it, Dr. Hublin? Where your twin sons attend? On the rue Notre-Dame des Champs? Wouldn’t those handsome boys be preparing to walk home right now?”

Hublin sets his hands on the back of the empty chair beside him, and his knuckles become very white.

“One with a violin and the other a viola, am I correct? Crossing all those busy streets. That is a long walk for ten-year-old boys.”

The assistant director is sitting very upright. Von Rumpel says, “I know it is not here, messieurs. Not even the lowest janitor would be so stupid as to leave the diamond here. But I would like to see where you have kept it. I would like to know what sort of place you believe is safe enough.”

Neither of the Frenchmen says anything. The assistant director resumes looking at his manuscript, though it is clear to von Rumpel that he is no longer reading. At four o’clock the secretary raps on the door and again von Rumpel sends her away. He practices concentrating only on blinking. Pulse in his neck. Tock tock tock tock. Others, he thinks, would do this with less finesse. Others would use scanners, explosives, pistol barrels, muscle. Von Rumpel uses the cheapest of materials, only minutes, only hours.

Five bells. The light leaches out of the gardens.

“Sergeant Major, please,” says the assistant director. His hands flat on his desk. Looking up now. “It is very late. I must relieve myself.”

“Feel free.” Von Rumpel gestures with one hand at a metal trash can beside the desk.

The mineralogist wrinkles his face. Again the phone rings. Hublin chews his cuticles. Pain shows in the assistant director’s face. The fan whirs. Out in the gardens, the daylight unwinds from the trees and still von Rumpel waits.

“Your colleague,” he says to the mineralogist, “he’s a logical man, isn’t he? He doubts the legends. But you, you seem more fiery. You don’t want to believe, you tell yourself not to believe. But you do believe.” He shakes his head. “You’ve held the diamond. You’ve felt its power.”

“This is ridiculous,” says Hublin. His eyes roll like a frightened colt’s. “This is not civilized behavior. Are our children safe, Sergeant Major? I demand that you let us determine if our children are safe.”

“A man of science, and yet you believe the myths. You believe in the might of reason, but you also believe in fairy tales. Goddesses and curses.”

The assistant director inhales sharply. “Enough,” he says. “Enough.”

Von Rumpel’s pulse soars: has it already happened? So easily? He could wait two more days, three, while ranks of men broke against him like waves.

“Are our children safe, Sergeant Major?”

“If you wish them to be.”

“May I use the telephone?”

Von Rumpel nods. The assistant director reaches for the handset, says “Sylvie” into it, listens awhile, then sets it down. The woman enters with a ring of keys. From a drawer inside the assistant director’s desk, she produces another key on a chain. Simple, elegant, long-shafted.

A small locked door at the back of the main-floor gallery. It takes two keys to open it, and the assistant director seems inexperienced with the lock. They lead von Rumpel down a corkscrewing stone staircase; at the bottom, the assistant director unlocks a second gate. They wind through warrens of hallways, past a warder who drops his newspaper and sits ramrod straight as they pass. In an unassuming storeroom filled with dropcloths and pallets and crates, behind a sheet of plywood, the mineralogist reveals a simple combination safe that the assistant director opens rather easily.

No alarms. Only the one guard.

Inside the safe is a second, far more interesting box. It is heavy enough that it requires both the assistant director and the mineralogist to lift it out.

Elegant, its joinery invisible. No brand name, no combination dial. It is presumably hollow but with no discernible hinges, no nails, no attachment points; it looks like a solid block of highly polished wood. Custom work.

The mineralogist fits a key into a tiny, almost invisible hole on the bottom; when it turns, two more tiny keyholes open on the opposite side. The assistant director inserts matching keys into those holes; they unlock what looks like five different shafts.

Three overlapping cylinder locks, each dependent on the next.

“Ingenious,” whispers von Rumpel.

The entire box falls gently open.

Inside sits a small felt bag.

He says, “Open it.”

The mineralogist looks at the assistant director. The assistant director picks up the bag and unties its throat and upends a wrapped bundle into his palm. With a single finger, he nudges apart the folds. Inside lies a blue stone as big as a pigeon’s egg.