Книга - All the Light We Cannot See

All the Light We Cannot See
Anthony Doerr


WINNER OF THE 2015 PULITZER PRIZE FOR FICTIONNATIONAL BOOK AWARD FINALISTNEW YORK TIMES BESTSELLERWINNER OF THE CARNEGIE MEDAL FOR FICTIONA beautiful, stunningly ambitious novel about a blind French girl and a German boy whose paths collide in occupied France as both try to survive the devastation of World War IIOpen your eyes and see what you can with them before they close forever.’For Marie-Laure, blind since the age of six, the world is full of mazes. The miniature of a Paris neighbourhood, made by her father to teach her the way home. The microscopic layers within the invaluable diamond that her father guards in the Museum of Natural History. The walled city by the sea, where father and daughter take refuge when the Nazis invade Paris. And a future which draws her ever closer to Werner, a German orphan, destined to labour in the mines until a broken radio fills his life with possibility and brings him to the notice of the Hitler Youth.In this magnificent, deeply moving novel, the stories ofMarie-Laure and Werner illuminate the ways, against all odds, people try to be good to one another.























Copyright (#ulink_2ba4b6ec-74fd-5cdf-9b32-d1955594a64b)


Fourth Estate

An imprint of HarperCollinsPublishers

1 London Bridge Street

London SE1 9GF

www.4thestate.co.uk (http://www.4thestate.co.uk)

This eBook first published in Great Britain by Fourth Estate in 2014

Copyright © Anthony Doerr 2014

Extract from About Grace © Anthony Doerr 2005

Cover design by Tal Goretsky and Lynn Buckley

Cover photographs: Manuel Clauzier (San Malo); George Eastman House/Getty images (sky)

The right of Anthony Doerr to be identified as the author of this work has been asserted by him in accordance with the Copyright, Design and Patents Act 1988.

A catalogue record for this book is available from the British Library.

This book is a work of fiction. Any references to historical events, real people or real places are used fictitiously. Other names, characters, places and events are products of the author’s imagination, and any resemblance to actual events or places or persons, living or dead, is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Source ISBN: 9780008138301

Ebook Edition © April 2015 ISBN: 9780007548682

Version: 2017-03-14




Dedication (#ulink_0ecbc92d-f1aa-5745-9627-07b5a03acda4)


For Wendy Weil

1940–2012




Epigraph (#ulink_3902430c-1128-5839-8d72-acb458123d10)


Saint-Malo, the brightest jewel of the Emerald Coast … The city looked picturesque and solid from the sea but as we got near the landing place we realized that the houses visible above the walls were just burnt-out shells … Of the 865 buildings within the walls, only 182 remained standing and all were damaged to some degree.

—Philip Beck

It would not have been possible for us to take power or to use it in the ways we have without the radio.

—Joseph Goebbels


Contents

Cover (#u0e170383-70db-5736-8716-b63b177e4280)

Title Page (#u021e03d7-5817-5a9d-9ccf-331b262e6ecc)

Copyright (#ub984cf3a-7613-50e4-95b9-097001a3504c)

Dedication (#ue25c3f6c-7e78-544c-82df-558819f622ad)

Epigraph (#u175150ab-d54b-5187-aa71-56be8b8b5065)

Part Zero: 7 August 1944 (#u257a715a-de5d-510b-8b90-d152e0814c95)

Leaflets (#u3c0d9394-6064-5dba-8c03-cd35ce198d3f)

Bombers (#u4ee7b554-5b1b-5a25-a9d2-2471fa430b36)

The Girl (#ubd8850fe-3334-5251-b8cd-26877538ecc2)

The Boy (#u38916409-93d2-5bd3-be83-5d91946ab313)

Saint-Malo (#ua0f302bb-cefa-5897-9285-cb7ae29cca3c)

Number 4 rue Vauborel (#u1977c9e9-74aa-5b20-97bb-171c0df3ce67)

Cellar (#udaa9a2de-d241-5580-a454-2ac750d6eadc)

Bombs Away (#u2e84a879-1680-5488-bd66-696f7f90d5f2)

Part One: 1934 (#u02f507a9-2ed5-50d8-8217-da412c9b6276)

Muséum National d’Histoire Naturelle (#u9b666d1f-72cd-548a-9b66-5947cf8ba1c7)

Zollverein (#u338ccd41-b5b9-5215-a80f-09241f3577c5)

Key Pound (#ua7055b52-1111-56d9-831b-8a182b091c46)

Radio (#u1a1dc433-f47e-570d-a3e5-0796dd7ad0f9)

Take Us Home (#u0818f08a-9a5c-5b62-9b4a-143a58e13799)

Something Rising (#u6ee5a5fc-7307-5d6b-915b-33df7d3ca397)

Light (#u79b607d1-b7f9-56df-8d72-8446b2af6a4b)

Our Flag Flutters Before Us (#u27efe250-b042-5a6d-a6c7-bb29cf03bee8)

Around the World in Eighty Days (#u75b83944-35c6-5d7f-82aa-d715d86d4be7)

The Professor (#ua4f52689-d62c-5265-b811-5c58414ef287)

Sea of Flames (#u3fdad808-e229-58e1-ae8f-fbd323d49f73)

Open Your Eyes (#u6ecb10ff-797b-5785-a0d7-f94d80bd021e)

Fade (#u5b03d582-ee70-58bd-a8c5-62466f889e7f)

The Principles of Mechanics (#ucf34e88a-a905-5931-9b7f-72bc6a657635)

Rumors (#u4163f8ec-da24-5fd4-8673-89ad97efc485)

Bigger Faster Brighter (#u9f112bb3-1099-5db6-bf76-bbf0570e0f5f)

Mark of the Beast (#u33a39eb4-5577-5d3b-b1be-6788394d693b)

Good Evening. Or Heil Hitler if You Prefer. (#uf0537e6f-0384-51b5-88f5-ac37140426aa)

Bye-bye, Blind Girl (#u8f90ab31-135d-5d7e-8b7e-a140f8002eba)

Making Socks (#uaad9d1f8-db22-58d6-8644-bac22073a5e2)

Flight (#u79715ebd-f423-5878-8621-a5535c12705c)

Herr Siedler (#u9338568b-d8b0-5ad4-a787-883ca5df087f)

Exodus (#ucba927e4-008a-5c1e-aaba-f521ca2e33ba)

Part Two: 8 August 1944 (#u18438116-c938-51b5-b417-85954b2201d3)

Saint-Malo (#ud9fe5d43-2302-5156-916e-fce7e58e3a82)

Number 4 rue Vauborel (#u04f70ce1-5b2a-5dc9-8a78-13aed75c13fd)

Hotel of Bees (#u8be7eb10-0e5d-585c-b54b-1f693b0305a8)

Down Six Flights (#u83a6559e-8e1c-5b9d-bc32-1a1a54e224cb)

Trapped (#u29012df8-7dbc-561c-8ce7-2191f92f5145)

Part Three: June 1940 (#u1190d723-2fe2-543b-b0f4-e015b6ed1ef7)

Château (#ud9083fba-fe96-582c-9093-c4e2be7c8997)

Entrance Exam (#ua84f1af4-79b9-5a2b-9e34-dc98bde0939c)

Brittany (#u98219f24-25cb-5a0a-895a-b1fd715a1188)

Madame Manec (#ue0f02ab3-471d-5427-ab9b-abf7ca59ff4c)

You Have Been Called (#u4ce33b8d-d6e7-5854-b4be-a62a536d42fd)

Occuper (#u14411d09-1cad-5cfc-bbee-ea4e6c302dca)

Don’t Tell Lies (#ubd63d23f-823d-5c0c-8455-1092e15737df)

Etienne (#u00433417-4cc0-5af8-b128-c61f950b0170)

Jungmänner (#u8d94b432-0222-564f-9601-24e2f0f1c866)

Vienna (#u6dbffe4d-a901-5939-a2f4-d60178ebdd5f)

The Boches (#u72e365ea-2d34-5dbb-a396-a32080948af2)

Hauptmann (#u124c2a4b-af73-5247-a36d-55eddb46950b)

Flying Couch (#u1c8a04db-2fd6-595a-8b18-3d52bd478283)

The Sum of Angles (#u1f55de5d-962f-527e-9496-335e690afe37)

The Professor (#u57e15c62-d425-51b0-ba1d-653441f79584)

Perfumer (#u90e77039-a52d-5e6c-a6e6-278ca9b21501)

Time of the Ostriches (#u153b84fb-4894-54e3-9980-1b9bc3895cb4)

Weakest (#u77f07a22-154b-5b59-bb60-0becd014e90c)

Mandatory Surrender (#u33315831-c0ef-572f-9bea-da49af05b770)

Museum (#u5c0dea71-e89f-59d6-9e57-5940e6c12871)

The Wardrobe (#ucf31340e-8288-5342-9ac5-bf5eac3fe121)

Blackbirds (#u2431355f-afa0-5d78-ae41-ada521861495)

Bath (#ufa946d0d-f1d3-515f-bbbe-cd7753da51db)

Weakest (#2) (#ufb1b8934-4ede-5d84-9c77-175357fd59d8)

The Arrest of the Locksmith (#u950607ca-c3cb-56c7-bda3-e9d3bc5d1183)

Part Four: 8 August 1944 (#ud3ccd191-6b2b-589d-acab-d476f157c902)

The Fort of La Cité (#ufb0d7435-a2de-5fd6-ba79-abce8903b954)

Atelier de Réparation (#ud32d1df3-69aa-5218-aa05-aa94e0493f17)

Two Cans (#ua7eb5c58-7ec1-5ccb-b4eb-ddb57bb7f548)

Number 4 rue Vauborel (#u945b5176-b3c6-541a-8d6b-190fcb4d6db0)

What They Have (#uf07f9d0b-ac1c-53bc-9cf4-8cc4fde13178)

Trip Wire (#u15cb6767-824b-58be-a27e-04dd3badd2e9)

Part Five: January 1941 (#u5eac123b-1667-53ba-8769-c8c16ea2076d)

January Recess (#u6598d4b2-bfba-55da-9117-3832d690229a)

He Is Not Coming Back (#u00694e4e-05a3-5f20-9210-4827157444bb)

Prisoner (#u9a83a36c-74ed-5865-b1a7-e1864be9d5de)

Plage du Môle (#u7313feae-3ee3-5e1a-963a-59f2b86de3fe)

Lapidary (#ufeaa13b4-126a-5f93-9d25-aa7f091a452e)

Entropy (#uee5c0e7f-97f8-5bd6-b5c8-4f6860d0face)

The Rounds (#u9c94e2e8-99a1-5809-8198-7ab31fed971f)

Nadel im Heuhaufen (#uae312cf2-d697-5436-a374-c87c531251b4)

Proposal (#uf69b43b3-55e7-5f1d-a46c-736a87f08a82)

You Have Other Friends (#u7b426f4f-a2cc-5e69-b307-f567e4a91baa)

Old Ladies’ Resistance Club (#uffc8f135-ed56-5351-9b00-25592e460bf6)

Diagnosis (#u5fc0698b-ac3f-5f0f-a2ec-5b69cfb0ff48)

Weakest (#3) (#u6da54d5f-1e91-5757-803e-0d51de6320bb)

Grotto (#u5186f768-1e2a-55ef-9a75-6282c7cef124)

Intoxicated (#u31f0542a-ecd3-54c9-93c2-d3e006a46299)

The Blade and the Whelk (#uf621e248-e039-53b5-9783-3268c070605b)

Alive Before You Die (#u98bf3053-b145-58ed-bf38-c5bae57d8a3f)

No Out (#ubbc57666-7ecc-57bd-9a73-74163c968df1)

The Disappearance of Hubert Bazin (#u01bf03eb-204e-5851-a55f-bbe9f210b605)

Everything Poisoned (#u704df031-8022-56d1-9d72-c49f5791b97c)

Visitors (#ufef376b6-8628-5a3c-bb68-2accd011e893)

The Frog Cooks (#u4cae7a3e-d76a-5459-aa70-3f8863a018ce)

Orders (#u18607078-1648-5145-b468-55ce0fe9c993)

Pneumonia (#ub5de9084-25f2-54ab-b033-4d8d48825507)

Treatments (#ud737ab10-e8d5-504a-9584-92bc681f0257)

Heaven (#uc9ed0b2a-b35c-5b97-815d-a7eda0d33008)

Frederick (#uc6cdadee-aab9-5b88-a88d-063433307093)

Relapse (#u7329e7b2-05b7-5d64-8594-12030ade8041)

Part Six: 8 August 1944 (#u8b95d55d-7450-59d0-8db1-c2f7ae98fa32)

Someone in the House (#ued61a932-6a89-550f-a669-4f107e99143a)

The Death of Walter Bernd (#ubacbf1e3-9b34-5635-a1c2-8c456520b3d1)

Sixth-floor Bedroom (#ufe5d1997-45a7-5175-99e3-0caf718b1e69)

Making the Radio (#u2d1299bf-48d5-5772-867d-25460f18a43a)

In the Attic (#u9a4b0795-b635-5353-af79-85655f54af7c)

Part Seven: August 1942 (#u4132156c-92e2-57f0-b5c7-eb567f437226)

Prisoners (#udb047c6a-9fbd-5393-a9a6-cf6a2139e1f5)

The Wardrobe (#ue95d1caf-c03f-5b15-a82b-57ee2b8d5323)

East (#u6ec8fd0c-84d6-54c8-a21c-1c3a13259656)

One Ordinary Loaf (#u3e70facf-4381-50d9-92aa-7a17c6b4d92e)

Volkheimer (#u1ba1dc29-cb6e-5ae7-98ec-7811b239a6c2)

Fall (#u76ff01ed-4111-5d86-998f-fa4fbe7d628b)

Sunflowers (#u713febb5-bc07-5bed-b33c-bb61e1c3025e)

Stones (#u4abb848d-0331-59ad-b34e-396ee07e9ffa)

Grotto (#u9d66aa18-720f-51c9-9ec4-b633f8280c00)

Hunting (#u02db44d5-1cd3-53a7-913e-6a5c04c52e05)

The Messages (#ufa81dbd4-af1a-53ae-ab97-d251eca70d62)

Loudenvielle (#u7a5eb8e6-2740-5d1c-acf5-08dd39d16429)

Gray (#uec460f3b-f5a5-508d-a497-f6ddeff18162)

Fever (#u6daf4820-2391-5c7d-897b-c2bb1ff7e068)

The Third Stone (#ubdafa52e-ed9a-521d-bec1-967b9a4d0c87)

The Bridge (#u9018606c-667d-52f7-beb3-655efeab8158)

Rue des Patriarches (#ub5b0d905-d9e5-57b2-b726-3954a8cde04b)

White City (#u0fa973de-0356-55f5-b629-c0df16628078)

Twenty Thousand Leagues Under the Sea (#ue3b197fb-1a08-5107-9596-ba439c45f293)

Telegram (#u53cbc3a1-d565-561c-be03-1ca48112e81b)

Part Eight: 9 August 1944 (#u8fc1af70-e896-5c01-86c2-dd6f8f055c73)

Fort National (#u26a68e6e-feb5-580f-a8c8-56ceb287f24b)

In the Attic (#ufe1efbbd-5cc9-5fef-bd95-571322b4e763)

The Heads (#u86e2841e-1a2d-5498-98cd-5fcf1b02d40f)

Delirium (#u343d3fa6-5ef1-5220-b6ab-227c39107fbc)

Water (#u9ea154ec-b5fd-5d64-a14b-3b860026015e)

The Beams (#ub2f6be75-e7c2-55e6-9bf2-d67ea9288b7a)

The Transmitter (#u5b6f6769-2aea-5edb-adac-757ac523aa63)

Voice (#ubacab6cb-426c-51ef-b99f-84360690945c)

Part Nine: May 1944 (#uab6b4e9f-e979-50f2-8172-32dbd61d37d5)

Edge of the World (#ue5e172b0-2af7-56d2-8f4c-19b568bdcda9)

Numbers (#ud6964e65-08c8-5e02-b76e-5a029a11c4a6)

May (#u5623a7ca-b65e-5a5c-ab7c-0b64b4a560b5)

Hunting (Again) (#u7fd2c81c-fe1e-5278-9721-ffcefd41f4ab)

“Clair de Lune” (#u2ddf98c5-9988-577a-87b9-c838a445d91f)

Antenna (#ucddd848e-93d3-55a4-ad55-f78f6495dec9)

Big Claude (#u3b41042e-62d3-5b0a-bd15-c56a92b3ec68)

Boulangerie (#ub0016fa8-cd4d-59a5-bf39-b06b4e2d1c56)

Grotto (#u42dd8b4a-3fbe-576b-a4e2-23962a3c5da2)

Agoraphobia (#u1533f436-2f15-54be-a40a-279d6058958f)

Nothing (#u77be3915-6d28-5550-83be-8993b456c6d5)

Forty Minutes (#u725b3ec0-e9c0-5d81-b936-eb64e7336ba6)

The Girl (#ue7688810-c855-5aaa-a575-6a7f82678745)

Little House (#u287cb233-4125-5a33-a6c2-cf8ebab966cf)

Numbers (#uf0ced1c1-3196-5944-a1e2-8b41c8807bb3)

Sea of Flames (#u37f94416-e7ca-5350-8cea-db0e89173445)

The Arrest of Etienne LeBlanc (#u1d1595bc-5dd8-508b-aa49-6ad329692ce6)

7 August 1944 (#u89dfa9fe-ee09-5973-8a64-1efae849aaa7)

Leaflets (#u8400b215-99b9-5b63-8121-a440499f43bd)

Part Ten: 12 August 1944 (#u56d05a43-aeff-5a08-8324-06605a63de91)

Entombed (#uf67ff23d-29e6-5597-b20b-b8458e67ebd7)

Fort National (#u11e249fc-ee02-5744-bf10-a2bf18b800c1)

Captain Nemo’s Last Words (#u78e7036b-7fac-5e90-bf1b-0ef258a7ef59)

Visitor (#u2e8070ca-f70b-573e-942a-b10cb324b266)

Final Sentence (#u789969ab-55a2-5dc3-9f7f-bdae9adb5459)

Music #1 (#u0cb9fd03-4aa7-5235-b3b7-72a4cf3c2b9f)

Music #2 (#u8b350251-6059-59b6-a88c-1d0624ea2091)

Music #3 (#u2ebfd078-10fe-5790-b6ab-7d983e9c5ae8)

Out (#u7ad1cdac-da12-5d78-86fe-cd500487dac2)

Wardrobe (#u18480042-a874-5422-8e9b-f45da1cf2a71)

Comrades (#u525b3531-3a31-553b-83a5-425b599a7f44)

The Simultaneity of Instants (#uaf4e292e-9505-5aa0-b315-818ca654368b)

Are You There? (#u6d0025df-8f2e-54f5-8b9a-e30e69f76bbb)

Second Can (#u44fff9db-1cb2-583e-9e69-5f64eed7e249)

Birds of America (#ueb214725-95d8-5df1-bc53-5dfb2c4e9a5a)

Cease-fire (#u788f329c-ef34-5d3b-b0c5-efccfe80b3d7)

Chocolate (#u434bfc00-f4c7-5e79-9b44-12fdbdeabf7d)

Light (#u3e1fb91f-a564-500e-9902-73e4de62a6bb)

Part Eleven: 1945 (#u1abf0cf0-3545-5bd3-a648-ec4dcbcffeef)

Berlin (#u471ba785-ad8a-51ff-8ac6-7292a9c503e4)

Paris (#u0956f5fe-5064-5a1c-8e9c-f849c6b4cdd4)

Part Twelve: 1974 (#uf2b04a21-a982-5257-b3d4-be835c46d0e2)

Volkheimer (#u2fa0fef6-ea7b-550e-b55b-80cb03361b87)

Jutta (#ucae99cfe-e888-57b5-aaed-6a5471c60119)

Duffel (#u45507ff1-6841-53e3-af31-e56a0f86c593)

Saint-Malo (#u509b2f19-9305-53b6-baf1-3af6ddaaa7c1)

Laboratory (#u0a6745bf-ca3e-5396-a08e-6239450b8981)

Visitor (#uc9ee0d37-05c8-51ad-9584-64a4cfbea49b)

Paper Airplane (#u87a9f15b-813c-5196-86f6-109c855d1862)

The Key (#u7cf2cbdb-533f-51f9-9dbb-dc0d1813d092)

Sea of Flames (#uf06f3374-e401-57c7-951f-07289afd5f73)

Frederick (#ubd23c2c2-8dd3-5f2c-ae28-dedde8abda91)

Part Thirteen: 2014 (#u5fcf5077-c28c-57dd-9414-fcc38cae61a1)

Acknowledgments (#ue1bac569-dc2b-5204-9ec9-146eeb6b01c1)

About Grace (#u3fd5f2b4-b5e3-595e-929e-8059c9d9fe7a)

Also by Anthony Doerr (#u01297c45-bfe8-58fe-9d2f-b22ce97b61ae)

About the Author (#u913971d4-9dfd-5fe6-92a5-ffc4d155bc0c)

About the Publisher (#u5ab9098d-4cc7-5e25-b2f3-eb3d3ffa2a81)





Zero (#ulink_6ffc8d09-65ae-5a78-8aa5-805011587539)









7 August 1944 (#ulink_6ffc8d09-65ae-5a78-8aa5-805011587539)




Leaflets (#ulink_17162a5b-c619-559f-9ea5-74094997579d)


At dusk they pour from the sky. They blow across the ramparts, turn cartwheels over rooftops, flutter into the ravines between houses. Entire streets swirl with them, flashing white against the cobbles. Urgent message to the inhabitants of this town, they say. Depart immediately to open country.

The tide climbs. The moon hangs small and yellow and gibbous. On the rooftops of beachfront hotels to the east, and in the gardens behind them, a half-dozen American artillery units drop incendiary rounds into the mouths of mortars.




Bombers (#ulink_53b0b9a6-b351-5581-9b32-386e7283f1e8)


They cross the Channel at midnight. There are twelve and they are named for songs: Stardust and Stormy Weather and In the Mood and Pistol-Packin’ Mama. The sea glides along far below, spattered with the countless chevrons of whitecaps. Soon enough, the navigators can discern the low moonlit lumps of islands ranged along the horizon.

France.

Intercoms crackle. Deliberately, almost lazily, the bombers shed altitude. Threads of red light ascend from anti-air emplacements up and down the coast. Dark, ruined ships appear, scuttled or destroyed, one with its bow shorn away, a second flickering as it burns. On an outermost island, panicked sheep run zigzagging between rocks.

Inside each airplane, a bombardier peers through an aiming window and counts to twenty. Four five six seven. To the bombardiers, the walled city on its granite headland, drawing ever closer, looks like an unholy tooth, something black and dangerous, a final abscess to be lanced away.




The Girl (#ulink_f66a7b75-d776-548a-bc3c-b0bbc4e03930)


In a corner of the city, inside a tall, narrow house at Number 4 rue Vauborel, on the sixth and highest floor, a sightless sixteen-year-old named Marie-Laure LeBlanc kneels over a low table covered entirely with a model. The model is a miniature of the city she kneels within, and contains scale replicas of the hundreds of houses and shops and hotels within its walls. There’s the cathedral with its perforated spire, and the bulky old Château de Saint-Malo, and row after row of seaside mansions studded with chimneys. A slender wooden jetty arcs out from a beach called the Plage du Môle; a delicate, reticulated atrium vaults over the seafood market; minute benches, the smallest no larger than apple seeds, dot the tiny public squares.

Marie-Laure runs her fingertips along the centimeter-wide parapet crowning the ramparts, drawing an uneven star shape around the entire model. She finds the opening atop the walls where four ceremonial cannons point to sea. “Bastion de la Hollande,” she whispers, and her fingers walk down a little staircase. “Rue des Cordiers. Rue Jacques Cartier.”

In a corner of the room stand two galvanized buckets filled to the rim with water. Fill them up, her great-uncle has taught her, whenever you can. The bathtub on the third floor too. Who knows when the water will go out again.

Her fingers travel back to the cathedral spire. South to the Gate of Dinan. All evening she has been marching her fingers around the model, waiting for her great-uncle Etienne, who owns this house, who went out the previous night while she slept, and who has not returned. And now it is night again, another revolution of the clock, and the whole block is quiet, and she cannot sleep.

She can hear the bombers when they are three miles away. A mounting static. The hum inside a seashell.

When she opens the bedroom window, the noise of the airplanes becomes louder. Otherwise, the night is dreadfully silent: no engines, no voices, no clatter. No sirens. No footfalls on the cobbles. Not even gulls. Just a high tide, one block away and six stories below, lapping at the base of the city walls.

And something else.

Something rattling softly, very close. She eases open the left-hand shutter and runs her fingers up the slats of the right. A sheet of paper has lodged there.

She holds it to her nose. It smells of fresh ink. Gasoline, maybe. The paper is crisp; it has not been outside long.

Marie-Laure hesitates at the window in her stocking feet, her bedroom behind her, seashells arranged along the top of the armoire, pebbles along the baseboards. Her cane stands in the corner; her big Braille novel waits facedown on the bed. The drone of the airplanes grows.




The Boy (#ulink_76b6b5e1-1705-5a14-8b93-164d54669de5)


Five streets to the north, a white-haired eighteen-year-old German private named Werner Pfennig wakes to a faint staccato hum. Little more than a purr. Flies tapping at a far-off windowpane.

Where is he? The sweet, slightly chemical scent of gun oil; the raw wood of newly constructed shell crates; the mothballed odor of old bedspreads—he’s in the hotel. Of course. L’hôtel des Abeilles, the Hotel of Bees.

Still night. Still early.

From the direction of the sea come whistles and booms; flak is going up.

An anti-air corporal hurries down the corridor, heading for the stairwell. “Get to the cellar,” he calls over his shoulder, and Werner switches on his field light, rolls his blanket into his duffel, and starts down the hall.

Not so long ago, the Hotel of Bees was a cheerful address, with bright blue shutters on its facade and oysters on ice in its café and Breton waiters in bow ties polishing glasses behind its bar. It offered twenty-one guest rooms, commanding sea views, and a lobby fireplace as big as a truck. Parisians on weekend holidays would drink aperitifs here, and before them the occasional emissary from the republic—ministers and vice ministers and abbots and admirals—and in the centuries before them, windburned corsairs: killers, plunderers, raiders, seamen.

Before that, before it was ever a hotel at all, five full centuries ago, it was the home of a wealthy privateer who gave up raiding ships to study bees in the pastures outside Saint-Malo, scribbling in notebooks and eating honey straight from combs. The crests above the door lintels still have bumblebees carved into the oak; the ivy-covered fountain in the courtyard is shaped like a hive. Werner’s favorites are five faded frescoes on the ceilings of the grandest upper rooms, where bees as big as children float against blue backdrops, big lazy drones and workers with diaphanous wings—where, above a hexagonal bathtub, a single nine-foot-long queen, with multiple eyes and a golden-furred abdomen, curls across the ceiling.

Over the past four weeks, the hotel has become something else: a fortress. A detachment of Austrian anti-airmen has boarded up every window, overturned every bed. They’ve reinforced the entrance, packed the stairwells with crates of artillery shells. The hotel’s fourth floor, where garden rooms with French balconies open directly onto the ramparts, has become home to an aging high-velocity anti-air gun called an 88 that can fire twenty-one-and-a-half-pound shells nine miles.

Her Majesty, the Austrians call their cannon, and for the past week these men have tended to it the way worker bees might tend to a queen. They’ve fed her oils, repainted her barrels, lubricated her wheels; they’ve arranged sandbags at her feet like offerings.

The royal acht acht, a deathly monarch meant to protect them all.

Werner is in the stairwell, halfway to the ground floor, when the 88 fires twice in quick succession. It’s the first time he’s heard the gun at such close range, and it sounds as if the top half of the hotel has torn off. He stumbles and throws his arms over his ears. The walls reverberate all the way down into the foundation, then back up.

Werner can hear the Austrians two floors up scrambling, reloading, and the receding screams of both shells as they hurtle above the ocean, already two or three miles away. One of the soldiers, he realizes, is singing. Or maybe it is more than one. Maybe they are all singing. Eight Luftwaffe men, none of whom will survive the hour, singing a love song to their queen.

Werner chases the beam of his field light through the lobby. The big gun detonates a third time, and glass shatters somewhere close by, and torrents of soot rattle down the chimney, and the walls of the hotel toll like a struck bell. Werner worries that the sound will knock the teeth from his gums.

He drags open the cellar door and pauses a moment, vision swimming. “This is it?” he asks. “They’re really coming?”

But who is there to answer?




Saint-Malo (#ulink_3a2839cc-e53e-5bc6-bec5-a3519ceb0cc3)


Up and down the lanes, the last unevacuated townspeople wake, groan, sigh. Spinsters, prostitutes, men over sixty. Procrastinators, collaborators, disbelievers, drunks. Nuns of every order. The poor. The stubborn. The blind.

Some hurry to bomb shelters. Some tell themselves it is merely a drill. Some linger to grab a blanket or a prayer book or a deck of playing cards.

D-day was two months ago. Cherbourg has been liberated, Caen liberated, Rennes too. Half of western France is free. In the east, the Soviets have retaken Minsk; the Polish Home Army is revolting in Warsaw; a few newspapers have become bold enough to suggest that the tide has turned.

But not here. Not this last citadel at the edge of the continent, this final German strongpoint on the Breton coast.

Here, people whisper, the Germans have renovated two kilometers of subterranean corridors under the medieval walls; they have built new defenses, new conduits, new escape routes, underground complexes of bewildering intricacy. Beneath the peninsular fort of La Cité, across the river from the old city, there are rooms of bandages, rooms of ammunition, even an underground hospital, or so it is believed. There is air-conditioning, a two-hundred-thousand-liter water tank, a direct line to Berlin. There are flame-throwing booby traps, a net of pillboxes with periscopic sights; they have stockpiled enough ordnance to spray shells into the sea all day, every day, for a year.

Here, they whisper, are a thousand Germans ready to die. Or five thousand. Maybe more.

Saint-Malo: Water surrounds the city on four sides. Its link to the rest of France is tenuous: a causeway, a bridge, a spit of sand. We are Malouins first, say the people of Saint-Malo. Bretons next. French if there’s anything left over.

In stormy light, its granite glows blue. At the highest tides, the sea creeps into basements at the very center of town. At the lowest tides, the barnacled ribs of a thousand shipwrecks stick out above the sea.

For three thousand years, this little promontory has known sieges.

But never like this.

A grandmother lifts a fussy toddler to her chest. A drunk, urinating in an alley outside Saint-Servan, a mile away, plucks a sheet of paper from a hedge. Urgent message to the inhabitants of this town, it says. Depart immediately to open country.

Anti-air batteries flash on the outer islands, and the big German guns inside the old city send another round of shells howling over the sea, and three hundred and eighty Frenchmen imprisoned on an island fortress called National, a quarter mile off the beach, huddle in a moonlit courtyard peering up.

Four years of occupation, and the roar of oncoming bombers is the roar of what? Deliverance? Extirpation?

The clack-clack of small-arms fire. The gravelly snare drums of flak. A dozen pigeons roosting on the cathedral spire cataract down its length and wheel out over the sea.




Number 4 rue Vauborel (#ulink_5f342675-dd8c-5037-aa89-c5e0d4f5c814)


Marie-Laure LeBlanc stands alone in her bedroom smelling a leaflet she cannot read. Sirens wail. She closes the shutters and relatches the window. Every second the airplanes draw closer; every second is a second lost. She should be rushing downstairs. She should be making for the corner of the kitchen where a little trapdoor opens into a cellar full of dust and mouse-chewed rugs and ancient trunks long unopened.

Instead she returns to the table at the foot of the bed and kneels beside the model of the city.

Again her fingers find the outer ramparts, the Bastion de la Hollande, the little staircase leading down. In this window, right here, in the real city, a woman beats her rugs every Sunday. From this window here, a boy once yelled, Watch where you’re going, are you blind?

The windowpanes rattle in their housings. The anti-air guns unleash another volley. The earth rotates just a bit farther.

Beneath her fingertips, the miniature rue d’Estrées intersects the miniature rue Vauborel. Her fingers turn right; they skim doorways. One two three. Four. How many times has she done this?

Number 4: the tall, derelict bird’s nest of a house owned by her great-uncle Etienne. Where she has lived for four years. Where she kneels on the sixth floor alone, as a dozen American bombers roar toward her.

She presses inward on the tiny front door, and a hidden catch releases, and the little house lifts up and out of the model. In her hands, it’s about the size of one of her father’s cigarette boxes.

Now the bombers are so close that the floor starts to throb under her knees. Out in the hall, the crystal pendants of the chandelier suspended above the stairwell chime. Marie-Laure twists the chimney of the miniature house ninety degrees. Then she slides off three wooden panels that make up its roof, and turns it over.

A stone drops into her palm.

It’s cold. The size of a pigeon’s egg. The shape of a teardrop.

Marie-Laure clutches the tiny house in one hand and the stone in the other. The room feels flimsy, tenuous. Giant fingertips seem about to punch through its walls.

“Papa?” she whispers.




Cellar (#ulink_3c4b7f73-9e6e-55b4-9b1a-ad20ca3288fb)


Beneath the lobby of the Hotel of Bees, a corsair’s cellar has been hacked out of the bedrock. Behind crates and cabinets and pegboards of tools, the walls are bare granite. Three massive hand-hewn beams, hauled here from some ancient Breton forest and craned into place centuries ago by teams of horses, hold up the ceiling.

A single lightbulb casts everything in a wavering shadow.

Werner Pfennig sits on a folding chair in front of a workbench, checks his battery level, and puts on headphones. The radio is a steel-cased two-way transceiver with a 1.6-meter band antenna. It enables him to communicate with a matching transceiver upstairs, with two other anti-air batteries inside the walls of the city, and with the underground garrison command across the river mouth.

The transceiver hums as it warms. A spotter reads coordinates into the headpiece, and an artilleryman repeats them back. Werner rubs his eyes. Behind him, confiscated treasures are crammed to the ceiling: rolled tapestries, grandfather clocks, armoires, and giant landscape paintings crazed with cracks. On a shelf opposite Werner sit eight or nine plaster heads, the purpose of which he cannot guess.

The massive staff sergeant Frank Volkheimer comes down the narrow wooden stairs and ducks his head beneath the beams. He smiles gently at Werner and sits in a tall-backed armchair upholstered in golden silk with his rifle across his huge thighs, where it looks like little more than a baton.

Werner says, “It’s starting?”

Volkheimer nods. He switches off his field light and blinks his strangely delicate eyelashes in the dimness.

“How long will it last?”

“Not long. We’ll be safe down here.”

The engineer, Bernd, comes last. He is a little man with mousy hair and misaligned pupils. He closes the cellar door behind him and bars it and sits halfway down the wooden staircase with a damp look on his face, fear or grit, it’s hard to say.

With the door shut, the sound of the sirens softens. Above them, the ceiling bulb flickers.

Water, thinks Werner. I forgot water.

A second anti-air battery fires from a distant corner of the city, and then the 88 upstairs goes again, stentorian, deadly, and Werner listens to the shell scream into the sky. Cascades of dust hiss out of the ceiling. Through his headphones, Werner can hear the Austrians upstairs still singing.

… auf d’Wulda, auf d’Wulda, da scheint d’Sunn a so gulda …

Volkheimer picks sleepily at a stain on his trousers. Bernd blows into his cupped hands. The transceiver crackles with wind speeds, air pressure, trajectories. Werner thinks of home: Frau Elena bent over his little shoes, double-knotting each lace. Stars wheeling past a dormer window. His little sister, Jutta, with a quilt around her shoulders and a radio earpiece trailing from her left ear.

Four stories up, the Austrians clap another shell into the smoking breech of the 88 and double-check the traverse and clamp their ears as the gun discharges, but down here Werner hears only the radio voices of his childhood. The Goddess of History looked down to earth. Only through the hottest fires can purification be achieved. He sees a forest of dying sunflowers. He sees a flock of blackbirds explode out of a tree.




Bombs Away (#ulink_0462dc86-92fd-54ba-93bb-171c3df13b8c)


Seventeen eighteen nineteen twenty. Now the sea races beneath the aiming windows. Now rooftops. Two smaller aircraft line the corridor with smoke, and the lead bomber salvos its payload, and eleven others follow suit. The bombs fall diagonally; the bombers rise and scramble.

The underside of the sky goes black with flecks. Marie-Laure’s great-uncle, locked with several hundred others inside the gates of Fort National, a quarter mile offshore, squints up and thinks, Locusts, and an Old Testament proverb comes back to him from some cobwebbed hour of parish school: The locusts have no king, yet all of them go out in ranks.

A demonic horde. Upended sacks of beans. A hundred broken rosaries. There are a thousand metaphors and all of them are inadequate: forty bombs per aircraft, four hundred and eighty altogether, seventy-two thousand pounds of explosives.

An avalanche descends onto the city. A hurricane. Teacups drift off shelves. Paintings slip off nails. In another quarter second, the sirens are inaudible. Everything is inaudible. The roar becomes loud enough to separate membranes in the middle ear.

The anti-air guns let fly their final shells. Twelve bombers fold back unharmed into the blue night.

On the sixth floor of Number 4 rue Vauborel, Marie-Laure crawls beneath her bed and clamps the stone and little model house to her chest.

In the cellar beneath the Hotel of Bees, the single bulb in the ceiling winks out.





One (#ulink_7af5d9be-724c-5c2e-a47f-78f2fffc30f0)









1934 (#ulink_7af5d9be-724c-5c2e-a47f-78f2fffc30f0)




Muséum National d’Histoire Naturelle (#ulink_266d23b4-d067-5fce-a193-6bdc50ce2c67)


Marie-Laure LeBlanc is a tall and freckled six-year-old in Paris with rapidly deteriorating eyesight when her father sends her on a children’s tour of the museum where he works. The guide is a hunchbacked old warder hardly taller than a child himself. He raps the tip of his cane against the floor for attention, then leads his dozen charges across the gardens to the galleries.

The children watch engineers use pulleys to lift a fossilized dinosaur femur. They see a stuffed giraffe in a closet, patches of hide wearing off its back. They peer into taxidermists’ drawers full of feathers and talons and glass eyeballs; they flip through two-hundred-year-old herbarium sheets bedecked with orchids and daisies and herbs.

Eventually they climb sixteen steps into the Gallery of Mineralogy. The guide shows them agate from Brazil and violet amethysts and a meteorite on a pedestal that he claims is as ancient as the solar system itself. Then he leads them single file down two twisting staircases and along several corridors and stops outside an iron door with a single keyhole. “End of tour,” he says.

A girl says, “But what’s through there?”

“Behind this door is another locked door, slightly smaller.”

“And what’s behind that?”

“A third locked door, smaller yet.”

“What’s behind that?”

“A fourth door, and a fifth, on and on until you reach a thirteenth, a little locked door no bigger than a shoe.”

The children lean forward. “And then?”

“Behind the thirteenth door”—the guide flourishes one of his impossibly wrinkled hands—“is the Sea of Flames.”

Puzzlement. Fidgeting.

“Come now. You’ve never heard of the Sea of Flames?”

The children shake their heads. Marie-Laure squints up at the naked bulbs strung in three-yard intervals along the ceiling; each sets a rainbow-colored halo rotating in her vision.

The guide hangs his cane on his wrist and rubs his hands together. “It’s a long story. Do you want to hear a long story?”

They nod.

He clears his throat. “Centuries ago, in the place we now call Borneo, a prince plucked a blue stone from a dry riverbed because he thought it was pretty. But on the way back to his palace, the prince was attacked by men on horseback and stabbed in the heart.”

“Stabbed in the heart?”

“Is this true?”

A boy says, “Hush.”

“The thieves stole his rings, his horse, everything. But because the little blue stone was clenched in his fist, they did not discover it. And the dying prince managed to crawl home. Then he fell unconscious for ten days. On the tenth day, to the amazement of his nurses, he sat up, opened his hand, and there was the stone.

“The sultan’s doctors said it was a miracle, that the prince never should have survived such a violent wound. The nurses said the stone must have healing powers. The sultan’s jewelers said something else: they said the stone was the largest raw diamond anyone had ever seen. Their most gifted stonecutter spent eighty days faceting it, and when he was done, it was a brilliant blue, the blue of tropical seas, but it had a touch of red at its center, like flames inside a drop of water. The sultan had the diamond fitted into a crown for the prince, and it was said that when the young prince sat on his throne and the sun hit him just so, he became so dazzling that visitors could not distinguish his figure from light itself.”

“Are you sure this is true?” asks a girl.

“Hush,” says the boy.

“The stone came to be known as the Sea of Flames. Some believed the prince was a deity, that as long as he kept the stone, he could not be killed. But something strange began to happen: the longer the prince wore his crown, the worse his luck became. In a month, he lost a brother to drowning and a second brother to snakebite. Within six months, his father died of disease. To make matters even worse, the sultan’s scouts announced that a great army was gathering in the east.

“The prince called together his father’s advisers. All said he should prepare for war, all but one, a priest, who said he’d had a dream. In the dream the Goddess of the Earth told him she’d made the Sea of Flames as a gift for her lover, the God of the Sea, and was sending the jewel to him through the river. But when the river dried up, and the prince plucked it out, the goddess became enraged. She cursed the stone and whoever kept it.”

Every child leans forward, Marie-Laure along with them.

“The curse was this: the keeper of the stone would live forever, but so long as he kept it, misfortunes would fall on all those he loved one after another in unending rain.”

“Live forever?”

“But if the keeper threw the diamond into the sea, thereby delivering it to its rightful recipient, the goddess would lift the curse. So the prince, now sultan, thought for three days and three nights and finally decided to keep the stone. It had saved his life; he believed it made him indestructible. He had the tongue cut out of the priest’s mouth.”

“Ouch,” says the youngest boy.

“Big mistake,” says the tallest girl.

“The invaders came,” says the warder, “and destroyed the palace, and killed everyone they found, and the prince was never seen again, and for two hundred years no one heard any more about the Sea of Flames. Some said the stone was recut into many smaller stones; others said the prince still carried the stone, that he was in Japan or Persia, that he was a humble farmer, that he never seemed to grow old.

“And so the stone fell out of history. Until one day, when a French diamond trader, during a trip to the Golconda Mines in India, was shown a massive pear-cut diamond. One hundred and thirty-three carats. Near-perfect clarity. As big as a pigeon’s egg, he wrote, and as blue as the sea, but with a flare of red at its core. He made a casting of the stone and sent it to a gem-crazy duke in Lorraine, warning him of the rumors of a curse. But the duke wanted the diamond very badly. So the trader brought it to Europe, and the duke fitted it into the end of a walking stick and carried it everywhere.”

“Uh-oh.”

“Within a month, the duchess contracted a throat disease. Two of their favorite servants fell off the roof and broke their necks. Then the duke’s only son died in a riding accident. Though everyone said the duke himself had never looked better, he became afraid to go out, afraid to accept visitors. Eventually he was so convinced that his stone was the accursed Sea of Flames that he asked the king to shut it up in his museum on the conditions that it be locked deep inside a specially built vault and the vault not be opened for two hundred years.”

“And?”

“And one hundred and ninety-six years have passed.”

All the children remain quiet a moment. Several do math on their fingers. Then they raise their hands as one. “Can we see it?”

“No.”

“Not even open the first door?”

“No.”

“Have you seen it?”

“I have not.”

“So how do you know it’s really there?”

“You have to believe the story.”

“How much is it worth, Monsieur? Could it buy the Eiffel Tower?”

“A diamond that large and rare could in all likelihood buy five Eiffel Towers.”

Gasps.

“Are all those doors to keep thieves from getting in?”

“Maybe,” the guide says, and winks, “they’re there to keep the curse from getting out.”

The children fall quiet. Two or three take a step back.

Marie-Laure takes off her eyeglasses, and the world goes shapeless. “Why not,” she asks, “just take the diamond and throw it into the sea?”

The warder looks at her. The other children look at her. “When is the last time,” one of the older boys says, “you saw someone throw five Eiffel Towers into the sea?”

There is laughter. Marie-Laure frowns. It is just an iron door with a brass keyhole.

The tour ends and the children disperse and Marie-Laure is reinstalled in the Grand Gallery with her father. He straightens her glasses on her nose and plucks a leaf from her hair. “Did you have fun, ma chérie?”

A little brown house sparrow swoops out of the rafters and lands on the tiles in front of her. Marie-Laure holds out an open palm. The sparrow tilts his head, considering. Then it flaps away.

One month later she is blind.




Zollverein (#ulink_b71e3828-239a-5153-967f-969d229dbb60)


Werner Pfennig grows up three hundred miles northeast of Paris in a place called Zollverein: a four-thousand-acre coal-mining complex outside Essen, Germany. It’s steel country, anthracite country, a place full of holes. Smokestacks fume and locomotives trundle back and forth on elevated conduits and leafless trees stand atop slag heaps like skeleton hands shoved up from the underworld.

Werner and his younger sister, Jutta, are raised at Children’s House, a clinker-brick two-story orphanage on Viktoriastrasse whose rooms are populated with the coughs of sick children and the crying of newborns and battered trunks inside which drowse the last possessions of deceased parents: patchwork dresses, tarnished wedding cutlery, faded ambrotypes of fathers swallowed by the mines.

Werner’s earliest years are the leanest. Men brawl over jobs outside the Zollverein gates, and chicken eggs sell for two million reichsmarks apiece, and rheumatic fever stalks Children’s House like a wolf. There is no butter or meat. Fruit is a memory. Some evenings, during the worst months, all the house directress has to feed her dozen wards are cakes made from mustard powder and water.

But seven-year-old Werner seems to float. He is undersized and his ears stick out and he speaks with a high, sweet voice; the whiteness of his hair stops people in their tracks. Snowy, milky, chalky. A color that is the absence of color. Every morning he ties his shoes, packs newspaper inside his coat as insulation against the cold, and begins interrogating the world. He captures snowflakes, tadpoles, hibernating frogs; he coaxes bread from bakers with none to sell; he regularly appears in the kitchen with fresh milk for the babies. He makes things too: paper boxes, crude biplanes, toy boats with working rudders.

Every couple of days he’ll startle the directress with some unanswerable query: “Why do we get hiccups, Frau Elena?”

Or: “If the moon is so big, Frau Elena, how come it looks so little?”

Or: “Frau Elena, does a bee know it’s going to die if it stings somebody?”

Frau Elena is a Protestant nun from Alsace who is more fond of children than of supervision. She sings French folk songs in a screechy falsetto, harbors a weakness for sherry, and regularly falls asleep standing up. Some nights she lets the children stay up late while she tells them stories in French about her girlhood cozied up against mountains, snow six feet deep on rooftops, town criers and creeks smoking in the cold and frost-dusted vineyards: a Christmas-carol world.

“Can deaf people hear their heartbeat, Frau Elena?”

“Why doesn’t glue stick to the inside of the bottle, Frau Elena?”

She’ll laugh. She’ll tousle Werner’s hair; she’ll whisper, “They’ll say you’re too little, Werner, that you’re from nowhere, that you shouldn’t dream big. But I believe in you. I think you’ll do something great.” Then she’ll send him up to the little cot he has claimed for himself in the attic, pressed up beneath the window of a dormer.

Sometimes he and Jutta draw. His sister sneaks up to Werner’s cot, and together they lie on their stomachs and pass a single pencil back and forth. Jutta, though she is two years younger, is the gifted one. She loves most of all to draw Paris, a city she has seen in exactly one photograph, on the back cover of one of Frau Elena’s romance novels: mansard roofs, hazy apartment blocks, the iron lattice of a distant tower. She draws twisting white skyscrapers, complicated bridges, flocks of figures beside a river.

Other days, in the hours after lessons, Werner tows his little sister through the mine complex in a wagon he has assembled from cast-off parts. They rattle down the long gravel lanes, past pit cottages and trash barrel fires, past laid-off miners squatting all day on upturned crates, motionless as statues. One wheel regularly clunks off and Werner crouches patiently beside it, threading back the bolts. All around them, the figures of second-shift workers shuffle into warehouses while first-shift workers shuffle home, hunched, hungry, blue-nosed, their faces like black skulls beneath their helmets. “Hello,” Werner will chirp, “good afternoon,” but the miners usually hobble past without replying, perhaps without even seeing him, their eyes on the muck, the economic collapse of Germany looming over them like the severe geometry of the mills.

Werner and Jutta sift through glistening piles of black dust; they clamber up mountains of rusting machines. They tear berries out of brambles and dandelions out of fields. Sometimes they manage to find potato peels or carrot greens in trash bins; other afternoons they collect paper to draw on, or old toothpaste tubes from which the last dregs can be squeezed out and dried into chalk. Once in a while Werner tows Jutta as far as the entrance to Pit Nine, the largest of the mines, wrapped in noise, lit like the pilot at the center of a gas furnace, a five-story coal elevator crouched over it, cables swinging, hammers banging, men shouting, an entire mapful of pleated and corrugated industry stretching into the distance on all sides, and they watch the coal cars trundling up from the earth and the miners spilling out of warehouses with their lunch pails toward the mouth of the elevator like insects toward a lighted trap.

“Down there,” Werner whispers to his sister. “That’s where Father died.”

And as night falls, Werner pulls little Jutta wordlessly back through the close-set neighborhoods of Zollverein, two snowy-haired children in a bottomland of soot, bearing their paltry treasures to Viktoriastrasse 3, where Frau Elena stares into the coal stove, singing a French lullaby in a tired voice, one toddler yanking her apron strings while another howls in her arms.




Key Pound (#ulink_8abf83fc-d182-5c49-96f1-7859a1ea442d)


Congenital cataracts. Bilateral. Irreparable. “Can you see this?” ask the doctors. “Can you see this?” Marie-Laure will not see anything for the rest of her life. Spaces she once knew as familiar—the four-room flat she shares with her father, the little tree-lined square at the end of their street—have become labyrinths bristling with hazards. Drawers are never where they should be. The toilet is an abyss. A glass of water is too near, too far; her fingers too big, always too big.

What is blindness? Where there should be a wall, her hands find nothing. Where there should be nothing, a table leg gouges her shin. Cars growl in the streets; leaves whisper in the sky; blood rustles through her inner ears. In the stairwell, in the kitchen, even beside her bed, grown-up voices speak of despair.

“Poor child.”

“Poor Monsieur LeBlanc.”

“Hasn’t had an easy road, you know. His father dead in the war, his wife dead in childbirth. And now this?”

“Like they’re cursed.”

“Look at her. Look at him.”

“Ought to send her away.”

Those are months of bruises and wretchedness: rooms pitching like sailboats, half-open doors striking Marie-Laure’s face. Her only sanctuary is in bed, the hem of her quilt at her chin, while her father smokes another cigarette in the chair beside her, whittling away at one of his tiny models, his little hammer going tap tap tap, his little square of sandpaper making a rhythmic, soothing rasp.






The despair doesn’t last. Marie-Laure is too young and her father is too patient. There are, he assures her, no such things as curses. There is luck, maybe, bad or good. A slight inclination of each day toward success or failure. But no curses.

Six mornings a week he wakes her before dawn, and she holds her arms in the air while he dresses her. Stockings, dress, sweater. If there’s time, he makes her try to knot her shoes herself. Then they drink a cup of coffee together in the kitchen: hot, strong, as much sugar as she wants.

At six forty she collects her white cane from the corner, loops a finger through the back of her father’s belt, and follows him down four flights and up six blocks to the museum.

He unlocks Entrance #2 at seven sharp. Inside are the familiar smells: typewriter ribbons, waxed floors, rock dust. There are the familiar echoes of their footfalls crossing the Grand Gallery. He greets a night guard, then a warder, always the same two words repeated back: Bonjour, bonjour.

Two lefts, one right. Her father’s key ring jingles. A lock gives way; a gate swings open.

Inside the key pound, inside six glass-fronted cabinets, thousands of iron keys hang from pegs. There are blanks and skeletons, barrel-stem keys and saturn-bow keys, elevator keys and cabinet keys. Keys as long as Marie-Laure’s forearm and keys shorter than her thumb.

Marie-Laure’s father is principal locksmith for the National Museum of Natural History. Between the laboratories, warehouses, four separate public museums, the menagerie, the greenhouses, the acres of medicinal and decorative gardens in the Jardin des Plantes, and a dozen gates and pavilions, her father estimates there are twelve thousand locks in the entire museum complex. No one else knows enough to disagree.

All morning he stands at the front of the key pound and distributes keys to employees: zookeepers coming first, office staff arriving in a rush around eight, technicians and librarians and scientific assistants trooping in next, scientists trickling in last. Everything is numbered and color-coded. Every employee from custodians to the director must carry his or her keys at all times. No one is allowed to leave his respective building with keys, and no one is allowed to leave keys on a desk. The museum possesses priceless jade from the thirteenth century, after all, and cavansite from India and rhodochrosite from Colorado; behind a lock her father has designed sits a Florentine dispensary bowl carved from lapis lazuli that specialists travel a thousand miles every year to examine.

Her father quizzes her. Vault key or padlock key, Marie? Cupboard key or dead bolt key? He tests her on the locations of displays, on the contents of cabinets. He is continually placing some unexpected thing into her hands: a lightbulb, a fossilized fish, a flamingo feather.

For an hour each morning—even Sundays—he makes her sit over a Braille workbook. A is one dot in the upper corner. B is two dots in a vertical line. Jean. Goes. To. The. Baker. Jean. Goes. To. The. Cheese. Maker.

In the afternoons he takes her on his rounds. He oils latches, repairs cabinets, polishes escutcheons. He leads her down hallway after hallway into gallery after gallery. Narrow corridors open into immense libraries; glass doors give way to hothouses overflowing with the smells of humus, wet newspaper, and lobelia. There are carpenters’ shops, taxidermists’ studios, acres of shelves and specimen drawers, whole museums within the museum.

Some afternoons he leaves Marie-Laure in the laboratory of Dr. Geffard, an aging mollusk expert whose beard smells permanently of damp wool. Dr. Geffard will stop whatever he is doing and open a bottle of Malbec and tell Marie-Laure in his whispery voice about reefs he visited as a young man: the Seychelles, British Honduras, Zanzibar. He calls her Laurette; he eats a roasted duck every day at 3 P.M.; his mind accommodates a seemingly inexhaustible catalog of Latin binomial names.

On the back wall of Dr. Geffard’s lab are cabinets that contain more drawers than she can count, and he lets her open them one after another and hold seashells in her hands—whelks, olives, imperial volutes from Thailand, spider conchs from Polynesia—the museum possesses more than ten thousand specimens, over half the known species in the world, and Marie-Laure gets to handle most of them.

“Now that shell, Laurette, belonged to a violet sea snail, a blind snail that lives its whole life on the surface of the sea. As soon as it is released into the ocean, it agitates the water to make bubbles, and binds those bubbles with mucus, and builds a raft. Then it blows around, feeding on whatever floating aquatic invertebrates it encounters. But if it ever loses its raft, it will sink and die …”

A Carinaria shell is simultaneously light and heavy, hard and soft, smooth and rough. The murex Dr. Geffard keeps on his desk can entertain her for a half hour, the hollow spines, the ridged whorls, the deep entrance; it’s a forest of spikes and caves and textures; it’s a kingdom.

Her hands move ceaselessly, gathering, probing, testing. The breast feathers of a stuffed and mounted chickadee are impossibly soft, its beak as sharp as a needle. The pollen at the tips of tulip anthers is not so much powder as it is tiny balls of oil. To really touch something, she is learning—the bark of a sycamore tree in the gardens; a pinned stag beetle in the Department of Entomology; the exquisitely polished interior of a scallop shell in Dr. Geffard’s workshop—is to love it.

At home, in the evenings, her father stows their shoes in the same cubby, hangs their coats on the same hooks. Marie-Laure crosses six evenly spaced friction strips on the kitchen tiles to reach the table; she follows a strand of twine he has threaded from the table to the toilet. He serves dinner on a round plate and describes the locations of different foods by the hands of a clock. Potatoes at six o’clock, ma chérie. Mushrooms at three. Then he lights a cigarette and goes to work on his miniatures at a workbench in the corner of the kitchen. He is building a scale model of their entire neighborhood, the tall-windowed houses, the rain gutters, the laverie and boulangerie and the little place at the end of the street with its four benches and ten trees. On warm nights Marie-Laure opens her bedroom window and listens to the evening as it settles over the balconies and gables and chimneys, languid and peaceful, until the real neighborhood and the miniature one get mixed up in her mind.

Tuesdays the museum is closed. Marie-Laure and her father sleep in; they drink coffee thick with sugar. They walk to the Panthéon, or to a flower market, or along the Seine. Every so often they visit the bookshop. He hands her a dictionary, a journal, a magazine full of photographs. “How many pages, Marie-Laure?”

She runs a nail along the edge.

“Fifty-two?” “Seven hundred and five?” “One hundred thirty-nine?”

He sweeps her hair back from her ears; he swings her above his head. He says she is his émerveillement. He says he will never leave her, not in a million years.




Radio (#ulink_e3c91b8d-9ef9-56a8-88be-1d0e96c1ea65)


Werner is eight years old and ferreting about in the refuse behind a storage shed when he discovers what looks like a large spool of thread. It consists of a wire-wrapped cylinder sandwiched between two discs of pinewood. Three frayed electrical leads sprout from the top. One has a small earphone dangling from its end.

Jutta, six years old, with a round face and a mashed cumulus of white hair, crouches beside her brother. “What is that?”

“I think,” Werner says, feeling as though some cupboard in the sky has just opened, “we just found a radio.”

Until now he has seen radios only in glimpses: a big cabinet wireless through the lace curtains of an official’s house; a portable unit in a miners’ dormitory; another in the church refectory. He has never touched one.

He and Jutta smuggle the device back to Viktoriastrasse 3 and appraise it beneath an electric lamp. They wipe it clean, untangle the snarl of wires, wash mud out of the earphone.

It does not work. Other children come and stand over them and marvel, then gradually lose interest and conclude it is hopeless. But Werner carries the receiver up to his attic dormer and studies it for hours. He disconnects everything that will disconnect; he lays its parts out on the floor and holds them one by one to the light.

Three weeks after finding the device, on a sun-gilded afternoon when perhaps every other child in Zollverein is outdoors, he notices that its longest wire, a slender filament coiled hundreds of times around the central cylinder, has several small breaks in it. Slowly, meticulously, he unwraps the coil, carries the entire looped mess downstairs, and calls Jutta inside to hold the pieces for him while he splices the breaks. Then he rewraps it.

“Now let’s try,” he whispers, and presses the earphone against his ear and runs what he has decided must be the tuning pin back and forth along the coil.

He hears a fizz of static. Then, from somewhere deep inside the earpiece, a stream of consonants issues forth. Werner’s heart pauses; the voice seems to echo in the architecture of his head.

The sound fades as quickly as it came. He shifts the pin a quarter inch. More static. Another quarter inch. Nothing.

In the kitchen, Frau Elena kneads bread. Boys shout in the alley. Werner guides the tuning pin back and forth.

Static, static.

He is about to hand the earphone to Jutta when—clear and unblemished, about halfway down the coil—he hears the quick, drastic strikes of a bow dashing across the strings of a violin. He tries to hold the pin perfectly still. A second violin joins the first. Jutta drags herself closer; she watches her brother with outside eyes.

A piano chases the violins. Then woodwinds. The strings sprint, woodwinds fluttering behind. More instruments join in. Flutes? Harps? The song races, seems to loop back over itself.

“Werner?” Jutta whispers.

He blinks; he has to swallow back tears. The parlor looks the same as it always has: two cribs beneath two Latin crosses, dust floating in the open mouth of the stove, a dozen layers of paint peeling off the baseboards. A needlepoint of Frau Elena’s snowy Alsatian village above the sink. Yet now there is music. As if, inside Werner’s head, an infinitesimal orchestra has stirred to life.

The room seems to fall into a slow spin. His sister says his name more urgently, and he presses the earphone to her ear.

“Music,” she says.

He holds the pin as stock-still as he can. The signal is weak enough that, though the earphone is six inches away, he can’t hear any trace of the song. But he watches his sister’s face, motionless except for her eyelids, and in the kitchen Frau Elena holds her flour-whitened hands in the air and cocks her head, studying Werner, and two older boys rush in and stop, sensing some change in the air, and the little radio with its four terminals and trailing aerial sits motionless on the floor between them all like a miracle.




Take Us Home (#ulink_a6d2877f-fb85-54bf-9f57-522290c70a77)


Usually Marie-Laure can solve the wooden puzzle boxes her father creates for her birthdays. Often they are shaped like houses and contain some hidden trinket. Opening them involves a cunning series of steps: find a seam with your fingernails, slide the bottom to the right, detach a side rail, remove a hidden key from inside the rail, unlock the top, and discover a bracelet inside.

For her seventh birthday, a tiny wooden chalet stands in the center of the kitchen table where the sugar bowl ought to be. She slides a hidden drawer out of the base, finds a hidden compartment beneath the drawer, takes out a wooden key, and slots the key inside the chimney. Inside waits a square of Swiss chocolate.

“Four minutes,” says her father, laughing. “I’ll have to work harder next year.”

For a long time, though, unlike his puzzle boxes, his model of their neighborhood makes little sense to her. It is not like the real world. The miniature intersection of rue de Mirbel and rue Monge, for example, just a block from their apartment, is nothing like the real intersection. The real one presents an amphitheater of noise and fragrance: in the fall it smells of traffic and castor oil, bread from the bakery, camphor from Avent’s pharmacy, delphiniums and sweet peas and roses from the flower stand. On winter days it swims with the odor of roasting chestnuts; on summer evenings it becomes slow and drowsy, full of sleepy conversations and the scraping of heavy iron chairs.

But her father’s model of the same intersection smells only of dried glue and sawdust. Its streets are empty, its pavements static; to her fingers, it serves as little more than a tiny and insufficient facsimile. He persists in asking Marie-Laure to run her fingers over it, to recognize different houses, the angles of streets. And one cold Tuesday in December, when Marie-Laure has been blind for over a year, her father walks her up rue Cuvier to the edge of the Jardin des Plantes.

“Here, ma chérie, is the path we take every morning. Through the cedars up ahead is the Grand Gallery.”

“I know, Papa.”

He picks her up and spins her around three times. “Now,” he says, “you’re going to take us home.”

Her mouth drops open.

“I want you to think of the model, Marie.”

“But I can’t possibly!”

“I’m one step behind you. I won’t let anything happen. You have your cane. You know where you are.”

“I do not!”

“You do.”

Exasperation. She cannot even say if the gardens are ahead or behind.

“Calm yourself, Marie. One centimeter at a time.”

“It’s far, Papa. Six blocks, at least.”

“Six blocks is exactly right. Use logic. Which way should we go first?”

The world pivots and rumbles. Crows shout, brakes hiss, someone to her left bangs something metal with what might be a hammer. She shuffles forward until the tip of her cane floats in space. The edge of a curb? A pond, a staircase, a cliff? She turns ninety degrees. Three steps forward. Now her cane finds the base of a wall. “Papa?”

“I’m here.”

Six paces seven paces eight. A roar of noise—an exterminator just leaving a house, pump bellowing—overtakes them. Twelve paces farther on, the bell tied around the handle of a shop door rings, and two women come out, jostling her as they pass.

Marie-Laure drops her cane; she begins to cry.

Her father lifts her, holds her to his narrow chest.

“It’s so big,” she whispers.

“You can do this, Marie.”

She cannot.




Something Rising (#ulink_885668ff-c3de-5e1d-b02c-6fb3ff55fe81)


While the other children play hopscotch in the alley or swim in the canal, Werner sits alone in his upstairs dormer, experimenting with the radio receiver. In a week he can dismantle and rebuild it with his eyes closed. Capacitor, inductor, tuning coil, earpiece. One wire goes to ground, the other to sky. Nothing he’s encountered before has made so much sense.

He harvests parts from supply sheds: snips of copper wire, screws, a bent screwdriver. He charms the druggist’s wife into giving him a broken earphone; he salvages a solenoid from a discarded doorbell, solders it to a resistor, and makes a loudspeaker. Within a month he manages to redesign the receiver entirely, adding new parts here and there and connecting it to a power source.

Every evening he carries his radio downstairs, and Frau Elena lets her wards listen for an hour. They tune in to newscasts, concerts, operas, national choirs, folk shows, a dozen children in a semicircle on the furniture, Frau Elena among them, hardly more substantial than a child herself.

We live in exciting times, says the radio. We make no complaints. We will plant our feet firmly in our earth, and no attack will move us.

The older girls like musical competitions, radio gymnastics, a regular spot called Seasonal Tips for Those in Love that makes the younger children squeal. The boys like plays, news bulletins, martial anthems. Jutta likes jazz. Werner likes everything. Violins, horns, drums, speeches—a mouth against a microphone in some faraway yet simultaneous evening—the sorcery of it holds him rapt.

Is it any wonder, asks the radio, that courage, confidence, and optimism in growing measure fill the German people? Is not the flame of a new faith rising from this sacrificial readiness?

Indeed it does seem to Werner, as the weeks go by, that something new is rising. Mine production increases; unemployment drops. Meat appears at Sunday supper. Lamb, pork, wieners—extravagances unheard of a year before. Frau Elena buys a new couch upholstered in orange corduroy, and a range with burners in black rings; three new Bibles arrive from the consistory in Berlin; a laundry boiler is delivered to the back door. Werner gets new trousers; Jutta gets her own pair of shoes. Working telephones ring in the houses of neighbors.

One afternoon, on the walk home from school, Werner stops outside the drugstore and presses his nose to a tall window: five dozen inch-tall storm troopers march there, each toy man with a brown shirt and tiny red armband, some with flutes, some with drums, a few officers astride glossy black stallions. Above them, suspended from a wire, a tinplate clockwork aquaplane with wooden pontoons and a rotating propeller makes an electric, hypnotizing orbit. Werner studies it through the glass for a long time, trying to understand how it works.

Night falls, autumn in 1936, and Werner carries the radio downstairs and sets it on the sideboard, and the other children fidget in anticipation. The receiver hums as it warms. Werner steps back, hands in pockets. From the loudspeaker, a children’s choir sings, We hope only to work, to work and work and work, to go to glorious work for the country. Then a state-sponsored play out of Berlin begins: a story of invaders sneaking into a village at night.

All twelve children sit riveted. In the play, the invaders pose as hook-nosed department-store owners, crooked jewelers, dishonorable bankers; they sell glittering trash; they drive established village businessmen out of work. Soon they plot to murder German children in their beds. Eventually a vigilant and humble neighbor catches on. Police are called: big handsome-sounding policemen with splendid voices. They break down the doors. They drag the invaders away. A patriotic march plays. Everyone is happy again.




Light (#ulink_74f24a1c-02f4-5100-93c1-ec5d876c0526)


Tuesday after Tuesday she fails. She leads her father on six-block detours that leave her angry and frustrated and farther from home than when they started. But in the winter of her eighth year, to Marie-Laure’s surprise, she begins to get it right. She runs her fingers over the model in their kitchen, counting miniature benches, trees, lampposts, doorways. Every day some new detail emerges—each storm drain, park bench, and hydrant in the model has its counterpart in the real world.

Marie-Laure brings her father closer to home before making a mistake. Four blocks three blocks two. And one snowy Tuesday in March, when he walks her to yet another new spot, very close to the banks of the Seine, spins her around three times, and says, “Take us home,” she realizes that, for the first time since they began this exercise, dread has not come trundling up from her gut.

Instead she squats on her heels on the sidewalk.

The faintly metallic smell of the falling snow surrounds her. Calm yourself. Listen.

Cars splash along streets, and snowmelt drums through runnels; she can hear snowflakes tick and patter through the trees. She can smell the cedars in the Jardin des Plantes a quarter mile away. Here the Metro hurtles beneath the sidewalk: that’s the Quai Saint-Bernard. Here the sky opens up, and she hears the clacking of branches: that’s the narrow stripe of gardens behind the Gallery of Paleontology. This, she realizes, must be the corner of the quay and rue Cuvier.

Six blocks, forty buildings, ten tiny trees in a square. This street intersects this street intersects this street. One centimeter at a time.

Her father stirs the keys in his pockets. Ahead loom the tall, grand houses that flank the gardens, reflecting sound.

She says, “We go left.”

They start up the length of the rue Cuvier. A trio of airborne ducks threads toward them, flapping their wings in synchrony, making for the Seine, and as the birds rush overhead, she imagines she can feel the light settling over their wings, striking each individual feather.

Left on rue Geoffroy Saint-Hilaire. Right on rue Daubenton. Three storm drains four storm drains five. Approaching on the left will be the open ironwork fence of the Jardin des Plantes, its thin spars like the bars of a great birdcage.

Across from her now: the bakery, the butcher, the delicatessen.

“Safe to cross, Papa?”

“It is.”

Right. Then straight. They walk up their street now, she is sure of it. One step behind her, her father tilts his head up and gives the sky a huge smile. Marie-Laure knows this even though her back is to him, even though he says nothing, even though she is blind—Papa’s thick hair is wet from the snow and standing in a dozen angles off his head, and his scarf is draped asymmetrically over his shoulders, and he’s beaming up at the falling snow.

They are halfway up the rue des Patriarches. They are outside their building. Marie-Laure finds the trunk of the chestnut tree that grows past her fourth-floor window, its bark beneath her fingers.

Old friend.

In another half second her father’s hands are in her armpits, swinging her up, and Marie-Laure smiles, and he laughs a pure, contagious laugh, one she will try to remember all her life, father and daughter turning in circles on the sidewalk in front of their apartment house, laughing together while snow sifts through the branches above.




Our Flag Flutters Before Us (#ulink_83ed4d65-3055-572c-9fe8-2fde9827be3a)


In Zollverein, in the spring of Werner’s tenth year, the two oldest boys at Children’s House—thirteen-year-old Hans Schilzer and fourteen-year-old Herribert Pomsel—shoulder secondhand knapsacks and goose-step into the woods. When they come back, they are members of the Hitler Youth.

They carry slingshots, fashion spears, rehearse ambushes from behind snowbanks. They join a bristling gang of miners’ sons who sit in the market square, sleeves rolled up, shorts hiked to their hips. “Good evening,” they cry at passersby. “Or heil Hitler, if you prefer!”

They give each other matching haircuts and wrestle in the parlor and brag about the rifle training they’re preparing for, the gliders they’ll fly, the tank turrets they’ll operate. Our flag represents the new era, chant Hans and Herribert, our flag leads us to eternity. At meals they chide younger children for admiring anything foreign: a British car advertisement, a French picture book.

Their salutes are comical; their outfits verge on ridiculous. But Frau Elena watches the boys with wary eyes: not so long ago they were feral toddlers skulking in their cots and crying for their mothers. Now they’ve become adolescent thugs with split knuckles and postcards of the führer folded into their shirt pockets.

Frau Elena speaks French less and less frequently whenever Hans and Herribert are present. She finds herself conscious of her accent. The smallest glance from a neighbor can make her wonder.

Werner keeps his head down. Leaping over bonfires, rubbing ash beneath your eyes, picking on little kids? Crumpling Jutta’s drawings? Far better, he decides, to keep one’s presence small, inconspicuous. Werner has been reading the popular science magazines in the drugstore; he’s interested in wave turbulence, tunnels to the center of the earth, the Nigerian method of relaying news over distances with drums. He buys a notebook and draws up plans for cloud chambers, ion detectors, X-ray goggles. What about a little motor attached to the cradles to rock the babies to sleep? How about springs stretched along the axles of his wagon to help him pull it up hills?

An official from the Labor Ministry visits Children’s House to speak about work opportunities at the mines. The children sit at his feet in their cleanest clothes. All boys, without exception, explains the man, will go to work for the mines once they turn fifteen. He speaks of glories and triumphs and how fortunate they’ll be to have fixed employment. When he picks up Werner’s radio and sets it back down without commenting, Werner feels the ceiling slip lower, the walls constrict.

His father down 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 (#ulink_493d6a79-f970-5bf2-9809-8b5445403edd)


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.





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