All the Light We Cannot See: A Novel(128)
Every hundred paces along the path, they come across a big steel cap beneath which a soldier would direct cannon fire at whomever was trying to take the hill. Some of these pillboxes are so scarred by assault that she can hardly imagine the fire and speed and terror of the projectiles showering onto them. A foot of steel looks as if it has been transformed into warm butter and gouged by the fingers of a child.
What it must have sounded like, to stand in there.
Now they are filled with crisps bags, cigarette filters, paper wrappers. American and French flags fly from a hilltop at the center of the park. Here, signs say, Germans holed up in underground tunnels to fight to the last man.
Three teenagers pass laughing and Max watches them with great intensity. On a pocked and lichen-splotched cement wall is bolted a small stone plaque. Ici a été tué Buy Gaston Marcel agé de 18 ans, mort pour la France le 11 ao?t 1944. Jutta sits on the ground. The sea is heavy and slate-gray. There are no plaques for the Germans who died here.
Why has she come? What answers did she hope to find? On their second morning, they sit in the Place Chateaubriand across from the historical museum, where sturdy benches face flower beds ringed by shin-high metal half loops. Beneath awnings, tourists browse over blue-and-white-striped sweaters and framed watercolors of corsair ships; a father sings as he puts his arm around a daughter.
Max looks up from his book and says, “Mutti, what goes around the world but stays in a corner?”
“I don’t know, Max.”
“A postage stamp.”
He smiles at her.
She says, “I’ll be right back.”
The man behind the museum counter is bearded, maybe fifty. Old enough to remember. She opens her purse and unwraps the partially crushed wooden house and says in her best French, “My brother had this. I believe he found it here. During the war.”
The man shakes his head, and she returns the house to her purse. Then he asks to see it again. He holds the model under the lamp and turns it so that its recessed front door faces him.
“Oui,” he says finally. He gestures for her to wait outside, and a moment later, he locks the door behind him and leads her and Max down streets narrow and sloping. After a dozen rights and lefts, they stand in front of the house. A real-life counterpart to the little one that Max is right now rotating in his hands.
“Number four rue Vauborel,” says the man. “The LeBlanc house. Been subdivided into holiday flats for years.”
Lichens splotch the stone; leached minerals have left filigrees of stains. Flower boxes adorn the windows, foaming over with geraniums. Could Werner have made the model? Bought it?
She says, “And was there a girl? Do you know about a girl?”
“Yes, there was a blind girl who lived in this house during the war. My mother told stories about her. As soon as the war ended, she moved away.”
Green dots strobe across Jutta’s vision; she feels as if she has been staring at the sun.
Max pulls her wrist. “Mutti, Mutti.”
“Why,” she says, lurching through the French, “would my brother have a miniature reproduction of this house?”
“Maybe the girl who lived here would know? I can find her address for you.”
“Mutti, Mutti, look,” Max says, and yanks her hard enough to win her attention. She glances down. “I think this little house opens. I think there’s a way to open it.”
Laboratory
Marie-Laure LeBlanc manages a small laboratory at the Museum of Natural History in Paris and has contributed in significant ways to the study and literature of mollusks: a monograph on the evolutionary rationale for the folds in West African cancellate nutmeg shells; an often-cited paper on the sexual dimorphism of Caribbean volutes. She has named two new subspecies of chitons. As a doctoral student, she traveled to Bora Bora and Bimini; she waded onto reefs in a sun hat with a collecting bucket and harvested snails on three continents.
Marie-Laure is not a collector in the way that Dr. Geffard was, an amasser, always looking to scurry down the scales of order, family, genus, species, and subspecies. She loves to be among the living creatures, whether on the reefs or in her aquaria. To find the snails crawling along the rocks, these tiny wet beings straining calcium from the water and spinning it into polished dreams on their backs—it is enough. More than enough.
She and Etienne traveled while he could. They went to Sardinia and Scotland and rode on the upper deck of a London airport bus as it skimmed below trees. He bought himself two nice transistor radios, died gently in the bathtub at age eighty-two, and left her plenty of money.
Despite hiring an investigator, spending thousands of francs, and poring through reams of German documentation, Marie-Laure and Etienne were never able to determine what exactly happened to her father. They confirmed he had been a prisoner at a labor camp called Breitenau in 1942. And there was a record made by a camp doctor at a subcamp in Kassel, Germany, that a Daniel LeBlanc contracted influenza in the first part of 1943. That’s all they have.
Marie-Laure still lives in the flat where she grew up, still walks to the museum. She has had two lovers. The first was a visiting scientist who never returned, and the second was a Canadian named John who scattered things—ties, coins, socks, breath mints—around any room he entered. They met in graduate school; he flitted from lab to lab with a prodigious curiosity but little perseverance. He loved ocean currents and architecture and Charles Dickens, and his variousness made her feel limited, overspecialized. When Marie-Laure got pregnant, they separated peaceably, with no flamboyance.