We used to pick berries by the Ruhr. My sister and me.
She says, “His hands were smaller than mine.”
The woman clears her throat. “He was little for his age, always. But he looked out for me. It was hard for him not to do what was expected of him. Have I said this correctly?”
“Perfectly.”
The aquaria bubble. The snails eat. What agonies this woman endured, Marie-Laure cannot guess. And the model house? Did Werner let himself back into the grotto to retrieve it? Did he leave the stone inside? She says, “He said that you and he used to listen to my great-uncle’s broadcasts. That you could hear them all the way in Germany.”
“Your great-uncle—?”
Now Marie-Laure wonders what memories crawl over the woman across from her. She is about to say more when footfalls in the hall stop outside the laboratory door. Max stumbles through something unintelligible in French. Francis laughs and says, “No, no, behind as in the back of us, not behind as in derrière.”
Jutta says, “I’m sorry.”
Marie-Laure laughs. “It is the obliviousness of our children that saves us.”
The door opens and Francis says, “You are all right, madame?”
“Yes, Francis. You may go.”
“We’ll go too,” says Jutta, and she pushes her stool back beneath the lab table. “I wanted you to have the little house. Better with you than with me.”
Marie-Laure keeps her hands flat on the lab table. She imagines mother and son as they move toward the door, small hand folded in big hand, and her throat wells. “Wait,” she says. “When my great-uncle sold the house, after the war, he traveled back to Saint-Malo, and he salvaged the one remaining recording of my grandfather. It was about the moon.”
“I remember. And light? On the other side?”
The creaking floor, the roiling tanks. Snails sliding along glass. Little house on the table between her hands.
“Leave your address with Francis. The record is very old, but I’ll mail it to you. Max might like it.”
Paper Airplane
“And Francis said there are forty-two thousand drawers of dried plants, and he showed me the beak of a giant squid and a plesiosaur . . .” The gravel crunches beneath their shoes and Jutta has to lean against a tree.
“Mutti?”
Lights veer toward her, then away. “I’m tired, Max. That’s all.”
She unfolds the tourist map and tries to understand the way back to their hotel. Few cars are out, and most every window they pass is lit blue from a television. It’s the absence of all the bodies, she thinks, that allows us to forget. It’s that the sod seals them over.
In the elevator, Max pushes 6 and up they go. The carpeted runner to their room is a river of maroon crossed with gold trapezoids. She hands Max the key, and he fumbles with the lock, then opens the door.
“Did you show the lady how the house opened, Mutti?”
“I think she already knew.”
Jutta turns on the television and takes off her shoes. Max opens the balcony doors and folds an airplane with hotel stationery. The half block of Paris that she can see reminds her of the cities she drew as a girl: a hundred houses, a thousand windows, a wheeling flock of birds. On the television, players in blue rush along a field two thousand miles away. The score is three to two. But a goalkeeper has fallen, and a wing has toed the ball just enough that it rolls slowly toward the goal line. No one is there to kick it away. Jutta picks up the phone beside the bed and dials nine numbers and Max launches an airplane over the street. It sails a few dozen feet and hangs for an instant, and then the voice of her husband says hello.
The Key
She sits in her lab touching the Dosinia shells one after another in their tray. Memories strobe past: the feel of her father’s trouser leg as she’d cling to it. Sand fleas skittering around her knees. Captain Nemo’s submarine vibrating with his woeful dirge as it floated through the black.
She shakes the little house, though she knows it will not give itself away.
He went back for it. Carried it out. Died with it. What sort of a boy was he? She remembers how he sat and paged through that book of Etienne’s.
Birds, he said. Bird after bird after bird.
She sees herself walk out of the smoking city, trailing a white pillowcase. Once she is out of his sight, he turns and lets himself back through Harold Bazin’s gate. The rampart a huge crumbling bulwark above him. The sea settling on the far side of the grate. She sees him solve the puzzle of the little house. Maybe he drops the diamond into the pool among the thousands of snails. Then he closes the puzzle box and locks the gate and trots away.
Or he puts the stone back into the house.
Or slips it into his pocket.
From her memory, Dr. Geffard whispers: That something so small could be so beautiful. Worth so much. Only the strongest people can turn away from feelings like that.
She twists the chimney ninety degrees. It turns as smoothly as if her father just built it. When she tries to slide off the first of the three wooden roof panels, she finds it stuck. But with the end of a pen, she manages to lever off the panels one two three.
Something drops into her palm.
An iron key.
Sea of ?Flames
From the molten basements of the world, two hundred miles down, it comes. One crystal in a seam of others. Pure carbon, each atom linked to four equidistant neighbors, perfectly knit, octahedral, unsurpassed in hardness. Already it is old: unfathomably so. Incalculable eons tumble past. The earth shifts, shrugs, stretches. One year, one day, one hour, a great upflow of magma gathers a seam of crystals and drives it toward the surface, mile after burning mile; it cools inside a huge, smoking xenolith of kimberlite, and there it waits. Century after century. Rain, wind, cubic miles of ice. Bedrock becomes boulders, boulders become stones; the ice retreats, a lake forms, and galaxies of freshwater clams flap their million shells at the sun and close and die and the lake seeps away. Stands of prehistoric trees rise and fall and rise again in succession. Until another year, another day, another hour, when a storm claws one particular stone out of a canyon and sends it into a clattering flow of alluvium, where eventually it finds, one evening, the attention of a prince who knows what he is looking for.
It is cut, polished; for a breath, it passes between the hands of men.
Another hour, another day, another year. Lump of carbon no larger than a chestnut. Mantled with algae, bedecked with barnacles. Crawled over by snails. It stirs among the pebbles.
Frederick
He lives with his mother outside west Berlin. Their apartment is a middle unit in a triplex. Its only windows offer a view of sweet-gum trees, a vast and barely used supermarket parking lot, and an expressway beyond.