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.
She has no memories of her mother but imagines her as white, a soundless brilliance. Her father radiates a thousand colors, opal, strawberry red, deep russet, wild green; a smell like oil and metal, the feel of a lock tumbler sliding home, the sound of his key rings chiming as he walks. He is an olive green when he talks to a department head, an escalating series of oranges when he speaks to Mademoiselle Fleury from the greenhouses, a bright red when he tries to cook. He glows sapphire when he sits over his workbench in the evenings, humming almost inaudibly as he works, the tip of his cigarette gleaming a prismatic blue.
She gets lost. Secretaries or botanists, and once the director’s assistant, bring her back to the key pound. She is curious; she wants to know the difference between an alga and a lichen, a Diplodon charruanus and a Diplodon delodontus. Famous men take her by the elbow and escort her through the gardens or guide her up stairwells. “I have a daughter too,” they’ll say. Or “I found her among the hummingbirds.”
“Toutes mes excuses,” her father says. He lights a cigarette; he plucks key after key out of her pockets. “What,” he whispers, “am I going to do with you?”
On her ninth birthday, when she wakes, she finds two gifts. The first is a wooden box with no opening she can detect. She turns it this way and that. It takes her a little while to realize one side is spring-loaded; she presses it and the box flips open. Inside waits a single cube of creamy Camembert that she pops directly into in her mouth.
“Too easy!” her father says, laughing.
The second gift is heavy, wrapped in paper and twine. Inside is a massive spiral-bound book. In Braille.
“They said it’s for boys. Or very adventurous girls.” She can hear him smiling.
She slides her fingertips across the embossed title page. Around. The. World. In. Eighty. Days. “Papa, it’s too expensive.”
“That’s for me to worry about.”
That morning Marie-Laure crawls beneath the counter of the key pound and lies on her stomach and sets all ten fingertips in a line on a page. The French feels old-fashioned, the dots printed much closer together than she is used to. But after a week, it becomes easy. She finds the ribbon she uses as a bookmark, opens the book, and the museum falls away.
Mysterious Mr. Fogg lives his life like a machine. Jean Passepartout becomes his obedient valet. When, after two months, she reaches the novel’s last line, she flips back to the first page and starts again. At night she runs her fingertips over her father’s model: the bell tower, the display windows. She imagines Jules Verne’s characters walking along the streets, chatting in shops; a half-inch-tall baker slides speck-sized loaves in and out of his ovens; three minuscule burglars hatch plans as they drive slowly past the jeweler’s; little grumbling cars throng the rue de Mirbel, wipers sliding back and forth. Behind a fourth-floor window on the rue des Patriarches, a miniature version of her father sits at a miniature workbench in their miniature apartment, just as he does in real life, sanding away at some infinitesimal piece of wood; across the room is a miniature girl, skinny, quick-witted, an open book in her lap; inside her chest pulses something huge, something full of longing, something unafraid.
“You have to swear,” Jutta says. “Do you swear?” Amid rusted drums and shredded inner tubes and wormy creek-bottom muck, she has discovered ten yards of copper wire. Her eyes are bright tunnels.
Werner glances at the trees, the creek, back to his sister. “I swear.”
Together they smuggle the wire home and loop it back and forth through nail holes in the eave outside the attic window. Then they attach it to their radio. Almost immediately, on a shortwave band, they can hear someone talking in a strange language full of z’s and s’s. “Is it Russian?”
Werner thinks it’s Hungarian.
Jutta is all eyes in the dimness and heat. “How far away is Hungary?”
“A thousand kilometers?”
She gapes.
Voices, it turns out, streak into Zollverein from all over the continent, through the clouds, the coal dust, the roof. The air swarms with them. Jutta makes a log to match a scale that Werner draws on the tuning coil, carefully spelling the name of each city they manage to receive. Verona 65, Dresden 88, London 100. Rome. Paris. Lyon. Late-night shortwave: province of ramblers and dreamers, madmen and ranters.
After prayers, after lights-out, Jutta sneaks up to her brother’s dormer; instead of drawing together, they lie hip to hip listening till midnight, till one, till two. They hear British news reports they cannot understand; they hear a Berlin woman pontificating about the proper makeup for a cocktail party.
One night Werner and Jutta tune in to a scratchy broadcast in which a young man is talking in feathery, accented French about light.
The brain is locked in total darkness, of course, children, says the voice. It floats in a clear liquid inside the skull, never in the light. And yet the world it constructs