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
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
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.