All the Light We Cannot See: A Novel(92)
Still he manages to find illegal transmissions, one every two weeks or so. He salvages the inferior Soviet equipment, milled from marginal steel, clumsily soldered; it’s all so unsystematic. How can they fight a war with such lousy equipment? The resistance is pitched to Werner as supremely organized; they are dangerous, disciplined insurgents; they follow the words of ferocious, lethal leaders. But he sees firsthand how they can be so loosely allied as to be basically ineffectual—they are wretched and filthy; they live in holes. They are ragtag desperadoes with nothing to lose.
And it seems he can never make headway into understanding which theory is closer to the truth. Because really, Werner thinks, they are all insurgents, all partisans, every single person they see. Anyone who is not a German wants the Germans dead, even the most sycophantic of them. They shy away from the truck as it rattles into town; they hide their faces, their families; their shops brim with shoes plucked off the dead.
Look at them.
What he feels on the worst days of that relentless winter—while rust colonizes the truck and rifles and radios, while German divisions retreat all around them—is a deep scorn for all the humans they pass. The smoking, ruined villages, the broken pieces of brick in the street, the frozen corpses, the shattered walls, the upturned cars, the barking dogs, the scurrying rats and lice: how can they live like that? Out here in the forests, in the mountains, in the villages, they are supposed to be pulling up disorder by the root. The total entropy of any system, said Dr. Hauptmann, will decrease only if the entropy of another system will increase. Nature demands symmetry. Ordnung muss sein.
And yet what order are they making out here? The suitcases, the queues, the wailing babies, the soldiers pouring back into the cities with eternity in their eyes—in what system is order increasing? Surely not in Kiev, or Lvov, or Warsaw. It’s all Hades. There are just so many humans, as if huge Russian factories cast new men every minute. Kill a thousand and we’ll make ten thousand more.
February finds them in mountains. Werner shivers in the back of the truck while Neumann One grinds down switchbacks. Trenches snake below them in an endless net, German positions on one side, Russian positions beyond. Thick ribbons of smoke stripe the valley; occasional flares of ordnance fly like shuttlecocks.
Volkheimer unfolds a blanket and wraps it around Werner’s shoulders. His blood sloshes back and forth inside him like mercury, and out the windows, in a gap in the mist, the network of trenches and artillery below shows itself very clearly for a moment, and Werner feels he is gazing down into the circuitry of an enormous radio, each soldier down there an electron flowing single file down his own electrical path, with no more say in the matter than an electron has. Then they’re around a bend and he feels only the presence of Volkheimer next to him, a cold dusk out the windows, bridge after bridge, hill after hill, all the time descending. Metallic, tattered moonlight shatters across the road, and a white horse stands chewing in a field, and a searchlight rakes the sky, and in the lit window of a mountain cabin, for a split second as they rumble past, Werner sees Jutta seated at a table, the bright faces of other children around her, Frau Elena’s needlepoint over the sink, the corpses of a dozen infants heaped in a bin beside the stove.
The Third Stone
He stands in a chateau outside Amiens, north of Paris. The big old house moans in the dark. The home belongs to a retired paleontologist and von Rumpel believes it is here that the chief of security at the museum in Paris fled during the chaos following the invasion of France three years ago. A peaceful place, insulated by fields, enwombed in hedges. He climbs a staircase to a library. A bookshelf has been peeled open; the strongbox is behind it. The Gestapo safecracker is good: wears a stethoscope, does not bother with a flashlight. In a few minutes, he has it open.
An old handgun, a box of certificates, a stack of tarnished silver coins. And inside a velvet box, a blue pear-cut diamond.
The red heart inside the stone shows itself one second, becomes completely inaccessible the next. Inside von Rumpel, hope braids with desperation; he is almost there. The odds are in his favor, aren’t they? But he knows before he sets it under the lamp. That same elation crashing out of him. The diamond is not real; it too is the work of Dupont.
He has found all three fakes. All his luck is spent. The doctor says the tumor is growing again. The prospects of the war are nosediving—Germany retreats across Russia, across the Ukraine, up the ankle of Italy. Before long, everyone in the Einsatzstab Reichsleiter Rosenberg—the men out there scouring the continent for hidden libraries, concealed prayer scrolls, closeted impressionist paintings—will be handed rifles and sent into the fire. Including von Rumpel.
So long as he keeps it, the keeper of the stone will live forever.
He cannot give up. And yet his hands grow so heavy. His head is a boulder.
One at the museum, one to the home of a museum supporter, one sent with a chief of security. What sort of man would they choose for a third courier? The Gestapo man watches him, his attention on the stone, his left hand on the door of the strongbox. Not for the first time, von Rumpel thinks of the extraordinary jewel safe at the museum. Like a puzzle box. In all his travels, he has seen nothing else like it. Who could have conceived of it?
The Bridge
In a French village far to the south of Saint-Malo, a German truck crossing a bridge is blown up. Six German soldiers die. Terrorists are blamed. Night and fog, whisper the women who come by to check on Marie-Laure. For every Kraut lost, they’ll kill ten of us. Police go door-to-door demanding any able-bodied man come out for a day’s work. Dig trenches, unload railway wagons, push barrows of cement bags, construct invasion obstacles in a field or on a beach. Everyone who can must work to strengthen the Atlantic Wall. Etienne stands squinting in the doorway with his doctor’s notes in his hand. Cold air blowing over him and fear billowing backward into the hall.