All the Light We Cannot See: A Novel(4)
Bombs Away
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
* * *
1934
Muséum National d’Histoire Naturelle
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.