The sky drops silver threads of sleet. Gray houses run in converging lines to the horizon, bunched as if to fend off cold. They pass shops stuffed with hanging meats and a drunk with a broken mandolin on his lap and a trio of streetwalkers huddled beneath an awning who catcall the boys in their uniforms.
Frederick leads them into a five-story town house one block off a pretty avenue called the Knesebeckstrasse. He rings #2 and a returning buzz echoes from inside and the door unlatches. They come into a dim foyer and stand before a pair of matched doors. Frederick presses a button and something high in the building rattles and Werner whispers, “You have an elevator?”
Frederick smiles. The machinery clangs downward and the lift clanks into place and Frederick pushes the wooden doors inward. Werner watches the interior of the building slide past in amazement. When they reach the second floor, he says, “Can we ride it again?”
Frederick laughs. They go down. Back up. Down, up, to the lobby a fourth time, and Werner is peering into the cables and weights above the car, trying to understand its mechanism, when a tiny woman enters the building and shakes out her umbrella. With her other hand, she carries a paper sack, and her eyes rapidly apprehend the boys’ uniforms and the intense whiteness of Werner’s hair and the livid bruises beneath Frederick’s eyes. On the breast of her coat, a mustard-yellow star has been carefully stitched. Perfectly straight, one vertex down, another up. Drops fall like seeds from the tip of her umbrella.
“Good afternoon, Frau Schwartzenberger,” says Frederick. He backs up against the wall of the elevator car and gestures for her to enter.
She squeezes into the lift and Werner steps in behind her. From the top of her sack juts a sheaf of withered greens. Her collar, he can see, is separating from the rest of the coat; threads are giving way. If she were to turn, their eyes would be a hand’s width apart.
Frederick presses 2, then 5. No one speaks. The old woman rubs the trembling tip of an index finger across one eyebrow. The lift clangs up one floor. Frederick snaps open the cage and Werner follows him out. He watches the old woman’s gray shoes rise past his nose. Already the door to #2 is opening, and an aproned woman with baggy arms and a downy face rushes out and embraces Frederick. She kisses him on both cheeks, then touches his bruises with her thumbs.
“It’s all right, Franny, horseplay.”
The apartment is sleek and shiny, full of deep carpets that swallow noise. Big rear windows look out into the hearts of four leafless lindens. Sleet still falling outside.
“Mother isn’t home yet,” Franny says, smoothing down her apron with both palms. Her eyes stay on Frederick. “You’re sure you’re all right?”
Frederick says, “Of course,” and together he and Werner pad into a warm, clean-smelling bedroom and Frederick slides open a drawer, and when he turns around, he’s wearing eyeglasses with black frames. He looks at Werner shyly. “Oh, come on, you didn’t already know?”
With his glasses on, Frederick’s expression seems to ease; his face makes more sense—this, Werner thinks, is who he is. A soft-skinned boy in glasses with taffy-colored hair and the finest trace of a mustache needled across his lip. Bird lover. Rich kid.
“I barely hit anything in marksmanship. You really didn’t know?”
“Maybe,” says Werner. “Maybe I knew. How did you pass the eye exams?”
“Memorized the charts.”
“Don’t they have different ones?”
“I memorized all four. Father got them ahead of time. Mother helped me study.”
“What about your binoculars?”
“They’re prescription. Cost a fortune.”
They sit in a big kitchen at a butcher’s block with a marble cap. The maid named Franny emerges with a dark loaf and a round of cheese, and she smiles at Frederick as she sets it down. They talk about Christmas and how Frederick was sorry to miss it, and the maid passes out through a swinging door and returns with two white plates so delicate that they ring when she sets them down.
Werner’s mind reels: A lift! A Jewess! A maid! Berlin! They retreat into Frederick’s bedroom, which is populated with tin soldiers and model airplanes and wooden crates full of comic books. They lie on their stomachs and page through comics, feeling the pleasure of being outside of school, glancing at each other now and then as if curious to learn whether their friendship will continue to exist in another place.
Franny calls, “I’m going,” and as soon as the door closes, Frederick takes Werner by the arm into the living room and climbs a ladder built along tall hardwood shelves and slides aside a large wicker basket and, from behind it, brings down a huge book: two volumes enfolded in golden slipcovers, each as big as a crib mattress. “Here.” His voice glows; his eyes glow. “This is what I wanted to show you.”
Inside are lush full-color paintings of birds. Two white falcons swoop over each other, beaks open. A bloodred flamingo holds its black-tipped beak over stagnant water. Resplendent geese stand on a headland and peer into a heavy sky. Frederick turns the pages with both hands. Pipiry flycatcher. Buff-breasted merganser. Red-cockaded woodpecker. Many of them larger in the book than in real life.
“Audubon,” Frederick says, “was an American. Walked the swamps and woods for years, back when that whole country was just swamps and woods. He’d spend all day watching one individual bird. Then he’d shoot it and prop it up with wires and sticks and paint it. Probably knew more than any birder before or since. He’d eat most of the birds after he painted them. Can you imagine?” Frederick’s voice trembles with ardency. Gazing up. “Those bright mists and your gun on your shoulder and your eyes set firmly in your head?”
Werner tries to see what Frederick sees: a time before photography, before binoculars. And here was someone willing to tramp out into a wilderness brimming with the unknown and bring back paintings. A book not so much full of birds as full of evanescence, of blue-winged, trumpeting mysteries.
He thinks of the Frenchman’s radio program, of Heinrich Hertz’s Principles of Mechanics— doesn’t he recognize the thrill in Frederick’s voice? He says, “My sister would love this.”
“Father says we’re not supposed to have it. Says we have to keep it hidden up there behind the basket because it’s American and was printed in Scotland. It’s just birds!”
The front door opens and footsteps clack across the foyer. Frederick hurries the volumes back inside their slipcovers; he calls, “Mother?” and a woman wearing a green ski suit with white stripes down the legs enters crying, “Fredde! Fredde!” She embraces her son and holds him back with straight arms while she runs a fingertip over a mostly healed cut along his forehead. Frederick looks off over her shoulder with a trace of panic on his face. Is he afraid that she’ll see he was looking at the forbidden book? Or that she’ll be angry about his bruises? She does not say anything but merely stares at her son, tangled in thoughts Werner cannot guess, then remembers herself.