The Tower: A Novel (17 page)

‘
Salve
.’ In the living room the tiled stove was pumping out regular rings of heat, briquettes rumbled onto the grating, the wind howled in the chimney. Sometimes sparks flew out onto the metal plate under the stove door. The windows rattled and banged even when it was snowing and there was no wind outside; the wood in the frames had cracks, the old-fashioned bascule bolts were covered in verdigris and, as in many of the apartments up there, thick draught excluders made in the Harmony Salon workshop from remnants of wool and clothing were stuck between the windows on the sill. Niklas poured a glass of mineral water for Christian and a Wernesgrüner Pils for himself, stroked the threadbare corduroy of the three-piece suite, leant back and said, ‘Aah’ and ‘Right, then’ to the plaster frieze round the ceiling, to the paintings by Kurt Querner on the walls: stolid scenes from the Erzgebirge done in earthy colours, the Luchberg in melting snow; a lane in Börnchen with gnarled trees; one of the famous portraits of Rehn, a peasant farmer, bringing out his pinched features with the rich blue of his eyes, his hands, crooked and knotted like roots, that had always impressed Christian. As did the portrait of Reglinde in the corner with the honey-coloured wing chair: it was one of the painter’s last works, Reglinde at eleven or twelve, in a plain dress, a few dolls beside her that Christian remembered from winter theatre evenings at the Tietzes’ and the Wolfsleite Hoffmanns’ years ago; as he walked home Christian often wondered about Reglinde’s alarmed eyes in the picture.

Niklas talked about productions from the past. The sound of the ‘abbot’s clock’, of Ezzo’s violin exercises in the adjoining room, of Gudrun declaiming, ‘Oh, who is the villain, speak’, of the chimes of the grandfather clock with the brass face fading away over the carpet, in front of the ceiling-high bookcase with Dehio art books, alphabetically
arranged biographies of musicians and volumes of correspondence from Europe’s past, all mingled with names from the heyday of opera and music, which for Niklas was a German art, with all due respect to the Beatles and ABBA, about whom he could talk knowledgeably at the evening meetings of the Friends of Music. ‘The pentatonic scale … now, when the orchestra plays in Japan, they can’t get enough of our music. Mozart on the pentatonic scale, well, OK. America has its dschezz and Dschordsch Görschwin, it has Börnschtein’s
West Said Schdori
and Nyu York … Great, great. People are always saying the Germans are the nation of poets and philosophers, I would say they’re the nation of musicians. In no other area is the Germans’ contribution so unique as in music. Leaving aside Verdi and Berlioz, Puccini and Vivaldi … there’s not much left! A few Russians, Tchaikovsky, Mussorgsky, Borodin, but that’s a special case, that’s already peripheral. Shostakovich as well and Prokoviev, Stravinsky, but he’s too abstract, it comes from his head, not his heart … No, music is a German art and that’s that.’

Niklas talked about the singers of the Dresden Opera, about the great conductors of the past. Outside the rain would beat against the windows, the snow swirl, the flakes, a hundred eyes sticking to the panes, slowly melt. In the summer Christian and Niklas would sit on the veranda, beside the music room. It smelt of the white-painted wooden furniture that came from Gudrun’s parents’ house, of the tobacco from Niklas’s pipe that he would smoke with relish on mild evenings with open windows, the humming of the bees, orange and blue sunset streaks and the call of the blackbirds. In the winter Christian would listen to Niklas, to the wide sweep of his memories bringing the past to life again, in the living room and the music room, where Niklas would first of all sit by the telescope table, then, when it was time to listen to music, on the chaise longue in front of the mirror that had turned a watery grey. The record on the turntable of the hi-fi machine with the imitation beech veneer would start to revolve and they listened
to the singers Niklas had been talking about. Then, Christian felt, something happened to the room: the green wallpaper with the pattern of protozoa and diatoms seemed to open up; the Viennese clock acquired a human face; the yellow artificial rose under the glass cover on the escritoire in the corner where Niklas wrote his letters in ink on hand-made, deckle-edge Spechthausen paper, seemed to grow rampant and branch out, the way it happened in silhouette films in the Tannhäuser Cinema in which shadow plants (roses? thistles? neither Muriel nor Christian nor Fabian knew) twined round a castle; the photos of the singers on the walls were no longer close, looked as if they had floated up from the cabins of ships that had sunk; the rasping sound of the stylus sounded like the swell of the sea. Niklas sat leaning forward, tense, caught up in the sweep of the melodies, the entries. Christian observed his uncle surreptitiously; he too seemed to be part of the world of the tides, the murmur of the sea from days long past, not the present; sometimes Christian was even slightly startled to hear his uncle talk of everyday matters such as snow chains for the Shiguli or Dynamo Dresden’s last game; in this world of the thousand little things and the curse of climbing the stairs to the offices of public officials he seemed to be merely a visitor, wrapped in the cloak of a kind fairy. Christian had to feel his way back into his everyday world when he said goodbye to Niklas, had to find his way back as he went home (Caravel was diagonally opposite), often taking detours, his head full of the names of singers and composers, anecdotes from the life of the State Orchestra during previous decades, full of pictures of German cathedrals and features of pre-war Dresden.

And with Malthakus it was the stamps, the historical postcards with the landscapes, that the dealer’s narrative commentary turned into little living tableaux; the albums with stamps from distant countries: ‘papillons, 100 différents’, ‘bateaux, 100 différents’; butterflies from Guyana and Réunion, Gabon and Senegal; ship motifs: ‘République du Bénin’, Indochina, São Tomé e Príncipe; triangular stamps from
Afghanistan joined by a perforated line at the hypotenuse that the dealer patiently explained: ‘The ship here with the red-and-white striped sails is a cog of the Hanseatic League’ (Christian knew it from an engraving on the glass door of the staircase at Caravel); ‘the one on the other side, with the blood-red sails, a Venetian merchantman’; then he rotated the globe and tapped his finger on the places that sounded legendary to the ears of the Heinrichstrasse and Wolfsleite children – Benin, previously the Kingdom of Dahomey, a narrow country on the west coast of Africa, capital – capital? I ought to know that. Quick, open the atlas. What is the capital of Benin called? But they got stuck in Togo, a former German colony bordering Benin; Togo was interesting too and then they discovered countries such as the Ivory Coast and Upper Volta, the capital of which (they all loved its name and could remember it later when they played ‘name – city – country’: Ouagadougou; Sinbad and his crew would certainly have been to Ouagadougou; everything was different in Ouagadougou).

Knowledge, knowledge. Names, names. Brains soaked it all up like sponges until they were dripping with knowledge that they didn’t release since these sponges couldn’t be squeezed. Knowledge was what counted; knowledge was the closely guarded treasure of those who belonged up there.

Those who knew nothing seemed to count for nothing. There was hardly any insult that was worse than ‘ignoramus’. At weekends there were anatomy lessons with Richard (he particularly enjoyed testing them on the bones of the wrist, having taught them a mnemonic verse: ‘A tall ship sailed in the moonlight bright – lunate – Triangulated a pea-shaped rock one night – triquetral, pisiform – The captain and his mate, each on a trapeze – trapezium, trapezoid – Dived head over heels, caught the hook with ease – capitate, hamate’) and talks on famous doctors: Fabian, Muriel, Robert and Christian, who intended to study medicine, sat in Richard’s study and revised their notes: ‘When did Sauerbruch start to work in Munich? – Late summer 1918. – Name
three forerunners of surgery of the chest and one of their achievements. – Bülau. Bülau drain. Rehn. First open-heart operation. Mikulicz. Mikulicz line, clamp; operation on the oesophagus in the chest, made possible by Sauerbruch’s low-pressure chamber. Sauerbruch’s teacher in Breslau.’ Muriel and Fabian seemed to join in more out of habit (there was also tasty food from Anne); Christian admired Sauerbruch, was fascinated by the stories about Robert Koch’s heroic rise, dug his way through
Ärzte im Selbstversuch
, Bernt Karger-Decker’s book with its scary bright-orange wrapper about doctors who tried remedies out on themselves, through the many volumes of the biographical series
Humanisten der Tat
that took up a whole shelf in his father’s bookcase, opened, full of trepidation, the anatomical atlases, where thousands of Latin names indicated meticulously described parts of the body – ‘Do we have to learn all this at medical school?’ – ‘That’s on the syllabus in the first two years, in addition you get biochemistry and physiology, chemistry, biology, biophysics, mathematics for doctors and, unfortunately, Marxism–Leninism still,’ Richard replied. Christian refused to be put off by Anne’s concerned objections (‘Let them go out and play, Richard, you’re stuffing them full of books; you’re going too far and I don’t think it’s good for them’) and devoured as much knowledge as he could. He too wanted to be famous and recognized by Richard and Niklas, Malthakus and Meno, the Tower-dwellers, his name too must shine out: Christian Hoffmann – the great surgeon, the man who conquered cancer. The first person from the GDR to win a Nobel Prize, applauded in Stockholm. After that he would probably get out, accept the offer of an English or American elite university. Or study economics and become director of a concern after all, like Ulrich? A clear desk every morning, the secretary brings papers that can determine the future state of a whole country, your signature, please, Comrade Director. Comrade – unfortunately that was unavoidable. Christian examined his own feelings about it: no, no scruples. If it meant you could become a director. Or a scientist like Meno. An insect
specialist and umpteen insect species will end in H for Hoffmann. A physicist puzzling over the foundations of the world! Ezzo saw himself as an astronaut. Sinbad and Tecumseh were good. Chingachgook, the big snake. To be a trapper like Leatherstocking. To be a cellist on the world stage, to thunderous applause – but Christian sensed, and his teacher had indicated, that his talent wasn’t up to that; it was enough to get by with, certainly; you could surprise the presidents of countries when, as the Nobel Prize winner for … (whatever) you picked up your cello and played one of Bach’s suites. Fabian, much taken with Lange’s stories, was drawn to the tropics, wanted to become a ship’s doctor and a second Albert Schweitzer. Robert would say, ‘You’ve all got a screw loose’, and go fishing or to watch football with Ulrich. Muriel was getting difficult, talked more about love than about science and art. Christian read.

And when he wasn’t reading, he sometimes started to laugh.

When he was younger he’d enjoyed Jules Verne, Jack London, Friedrich Gerstäcker’s novels set in exotic countries, had read Mark Twain’s
Huckleberry Finn
and
Tom Sawyer
again and again. He loved stories of adventure, Stevenson’s
Treasure Island
, Defoe’s
Robinson Crusoe
, stories of spies, musketeers and agents. When he had started at the senior high school, however, Meno had given him a book that impressed Christian in a way he couldn’t explain; it was
The World of Yesterday
by Stefan Zweig, a book that told about an age that had long since disappeared, the Belle Époque in the Vienna of the turn of the century. It was teeming with names, allusions, quotations that Christian recognized from having heard them from Meno himself or from Niklas, an effect that delighted him. Not only that, there was a casual remark by Zweig he couldn’t get out of his mind: that in Europe before the First World War you didn’t need a passport to travel wherever you liked; that you could attend university in Paris or Florence, if you wanted (and, of course, assuming you had the money). In that book he found wide horizons he had not yet come across, even with the Tower-dwellers.
In the ‘Camp for Work and Relaxation’ he had read Goethe’s
Elective Affinities
more in an attempt to impress Verena than out of interest; now this book by Zweig gave him a sense of what the concept of ‘world literature’ meant. World literature – they’d talked about that at school as well (Goethe,
Faust I
: but at the time Christian had preferred to play battleships or handball); he had only had a vague idea of what it meant: it was the grey-linen rows of dignified books behind the glass of the bookcase in the living room of Caravel that seemed to stare at Christian with an expression that said: You’re too young, too stupid for us. Out of a sense of disdain that already had a touch of curiosity, he had occasionally taken a book out of the row, leafed through a few pages here, read a paragraph there (dialogues between lovers, that too), then carefully weighed the book in his hand and replaced it. He had to read, he had to learn more. He told himself that his models had been much farther on at fourteen, fifteen, than he was now, at seventeen; he told himself that, if some day he really was to become one of the great figures of science, he would have to at least double the daily quota he’d set himself. Every day in Waldbrunn he longed for the end of lessons so that he could finally get down to his own work. He studied like one possessed, eight to ten hours a day, both coursework and his own, but only as much coursework as he needed to get an A grade in class and oral tests. His own work consisted of fifty words each of English, French and Latin vocabulary a day together with further topics in chemistry, physics and biology. Christian swotted day in, day out, to the point of bitter despair that arrived by midnight at the latest because by that time he usually started confusing all the vocabulary, had forgotten the word for the biochemical cancer cycle (a complex of thistly formulae intended for second-year medical students), which was almost unpronounceable and ended in -ate or -asis, and no longer knew what the difference between an enzyme, a vitamin and a hormone was. He was dog-tired but he hadn’t done enough yet. He now forced his brain, which was already generating delusions, to read at least one chapter of
world literature. Woe to anyone who dared to disturb his daily routine; Christian had already once driven off Frau Stesny, the middle-aged head of the pupils’ hostel, with a fit of rage; astonishingly she hadn’t complained to Engelmann, the principal. The other pupils in the hostel looked askance at him because he shut himself off from everything. Svetlana Lehmann tapped her forehead, Verena shrugged her shoulders, Jens mocked. Only Siegbert said nothing, Siegbert, with his little desk full of matchstick ships and sailing manuals, who knew all the ranks in the People’s Navy (and also of the Nazi navy, but no one was to know that), the types of ships, classes of cruisers and tonnages, Siegbert Füger, who wanted to go to sea and liked stories of the sea, especially Hugo Pratt’s Corto Maltese comic books; Christian had given him a few, ones of which Lange, the ship’s doctor, had spare copies. He even read the
Odyssey
, Apollonius of Rhodes’s saga of the Argonauts, the reports of Pharaoh Necho’s captain, of Herodotus.