The davenport makes von Rumpel think of an eighteenth-century Dutch tobacco box made out of brass and copper and encrusted with tiny diamonds that he examined earlier this week, and the tobacco box sends his thoughts, as inexorably as gravity, back to the Sea of Flames. In his weaker moments, he imagines walking in some future hour between arcades of pillars in the great Führermuseum at Linz, his heels clacking smartly on the marble, twilight cascading through high windows. He sees a thousand crystalline display cases, so clear they seem to float above the floor; inside them wait the world’s mineral treasures, harvested from every hole on the globe: dioptase and topaz and amethyst and California rubellite.
What was the phrase? Like stars flung off the brows of archangels.
And in the very center of the gallery, a spotlight falls through the ceiling onto a pedestal; there, inside a glass cube, glows a small blue stone . . .
The doctor asks von Rumpel to lower his trousers. Though the business of war has not let up for even a day, von Rumpel has been happy for months. His responsibilities are doubling; there are not, it turns out, a lot of Aryan diamond experts in the Reich. Just three weeks ago, outside a tiny sun-streaked station west of Bratislava, he examined an envelope full of perfectly clear, well-faceted stones; behind him rumbled a truck full of paintings wrapped in paper and packed in straw. The guards whispered that a Rembrandt was in there, and pieces of a famous altarpiece from Cracow. All being sent to a salt mine somewhere deep beneath the Austrian village of Altaussee, where a mile-long tunnel drops into a glittering arcade filled with shelving three stories high, upon which the high command is stacking Europe’s finest art. They will assemble everything under one unassailable roof, a temple to the human endeavor. Visitors will marvel at it for a thousand years.
The doctor probes his groin. “No pain?”
“None.”
“Nor here?”
“None.”
It would have been too much to hope for names from the lapidary in Paris. Dupont, after all, would not have known who had been given the replicas of the diamond; he had no insight into the last-second safeguards of the museum. But Dupont was of service nonetheless; von Rumpel needed a number, and he got it.
Three.
The doctor says, “You may dress,” and washes his hands at a sink.
In the two months leading up to the invasion of France, Dupont fashioned three replicas for the museum. Did he use the real diamond to make them? He used a casting. He never saw the real diamond. Von Rumpel believed him.
Three replicas. Plus the real stone. Somewhere on this planet among its sextillion grains of sand.
Four stones, one of them in the basement of the museum, locked in a safe. Three more to find. There are moments when von Rumpel feels impatience rising in him like bile, but he forces himself to swallow it back. It will come.
He buckles his belt. The doctor says, “We need to take a biopsy. You will want to telephone your wife.”
Weakest (#3)
The scales of cruelty tip. Maybe Bastian exacts some final vendetta; maybe Frederick goes looking for his only way out. All Werner knows for certain is that one April morning he wakes to find three inches of slush on the ground and Frederick not in his bunk.
He does not show at breakfast or poetics or morning field exercises. Each story Werner hears contains its own flaws and contradictions, as though the truth is a machine whose gears are not meshing. First he hears that a group of boys took Frederick out and set up torches in the snow and told him to shoot the torches with his rifle—to prove he had adequate eyesight. Then Werner hears that they brought him charts for eye exams, and when he could not read them, they force-fed the charts to him.
But what does the truth matter in this place? Werner imagines twenty boys closing over Frederick’s body like rats; he sees the fat, gleaming face of the commandant, throat spilling out of his collar, reclined like a king on some high-backed oak throne, while blood slowly fills the floor, rises past his ankles, past his knees . . .
Werner skips lunch and walks in a daze to the school’s infirmary. He’s risking detention or worse; it’s a sunny, bright noon, but his heart is being crushed slowly in a vise, and everything is slow and hypnotic, and he watches his arm work as it pulls open the door as if he’s peering through several feet of blue water.
A single bed with blood in it. Blood on the pillow and on the sheets and even on the enameled metal of the bed frame. Pink rags in a basin. Half-unrolled bandage on the floor. The nurse bustles over and grimaces at Werner. Outside of the kitchens, she is the only woman at the school.
“Why so much blood?” he asks.
She sets four fingers across her lips. Debating perhaps whether to tell him or pretend she does not know. Accusation or resignation or complicity.
“Where is he?”
“Leipzig. For surgery.” She touches a round white button on her uniform with what might be an inconveniently trembling finger. Otherwise her manner is entirely stern.
“What happened?”
“Shouldn’t you be at noontime meal?”
Each time he blinks, he sees the men of his childhood, laid-off miners drifting through back alleys, men with hooks for fingers and vacuums for eyes; he sees Bastian standing over a smoking river, snow falling all around him. Führer, folk, fatherland. Steel your body, steel your soul.
“When will he be back?”
“Oh,” she says, a soft enough word. She shakes her head.
A blue soapbox on the table. Above it a portrait of some foregone officer in a crumbling frame. Some previous boy sent through this place to die.
“Cadet?”
Werner has to sit on the bed. The nurse’s face seems to occupy multiple distances, a mask atop a mask atop a mask. What is Jutta doing at this exact moment? Wiping the nose of some wailing newborn or collecting newspapers or listening to presentations from army nurses or darning another sock? Praying for him? Believing in him?
He thinks: I will never be able to tell her about this.
Dearest Marie-Laure—
The others in my cell are mostly kind. Some tell jokes. Here’s one: Have you heard about the Wehrmacht exercise program? Yes, each morning you raise your hands above your head and leave them there!
Ha ha. My angel has promised to deliver this letter for me at great risk. It is very safe and nice to be out of the “Gasthaus” for a bit. We are building a road now and the work is good. My body is getting stronger. Today I saw an oak tree disguised as a chestnut tree. I think it is called a chestnut oak. I would like very much to ask some of the botanists in the gardens about it when we get home.
I hope you and Madame and Etienne will keep sending things. They say we will be allowed to receive one parcel each, so something has to get through eventually. I doubt they would let me keep any tools but it would be wonderful if they would. You absolutely would not believe how pretty it is here, ma chérie, and how far we are from danger. I am incredibly safe, as safe as safe can be.
Your Papa
Grotto
It’s summer and Marie-Laure is sitting in the alcove behind the library with Madame Manec and Crazy Harold Bazin. Through his copper mask, through a mouthful of soup, Harold says, “I want to show you something.”
He leads Marie-Laure and Madame Manec down what Marie-Laure thinks is the rue du Boyer, though it could be the rue Vincent de Gournay or the rue des Hautes Salles. They reach the base of the ramparts and turn right, following a lane Marie-Laure has not been on before. They descend two steps, pass through a curtain of hanging ivy, and Madame Manec says, “Harold, please, what is this?” The alley grows narrower and narrower until they must walk single file, the walls close on either side, and then they stop. Marie-Laure can feel stone blocks mounting vertically on both sides to brush their shoulders: they seem to rise forever. If her father has built this alley into his model, her fingers have not discovered it yet.