All the Light We Cannot See. Anthony Doerr

her fingers find the outer ramparts, the Bastion de la Hollande, the little staircase leading down. In this window, right here, in the real city, a woman beats her rugs every Sunday. From this window here, a boy once yelled, Watch where you’re going, are you blind?

      The windowpanes rattle in their housings. The anti-air guns unleash another volley. The earth rotates just a bit farther.

      Beneath her fingertips, the miniature rue d’Estrées intersects the miniature rue Vauborel. Her fingers turn right; they skim doorways. One two three. Four. How many times has she done this?

      Number 4: the tall, derelict bird’s nest of a house owned by her great-uncle Etienne. Where she has lived for four years. Where she kneels on the sixth floor alone, as a dozen American bombers roar toward her.

      She presses inward on the tiny front door, and a hidden catch releases, and the little house lifts up and out of the model. In her hands, it’s about the size of one of her father’s cigarette boxes.

      Now the bombers are so close that the floor starts to throb under her knees. Out in the hall, the crystal pendants of the chandelier suspended above the stairwell chime. Marie-Laure twists the chimney of the miniature house ninety degrees. Then she slides off three wooden panels that make up its roof, and turns it over.

      A stone drops into her palm.

      It’s cold. The size of a pigeon’s egg. The shape of a teardrop.

      Marie-Laure clutches the tiny house in one hand and the stone in the other. The room feels flimsy, tenuous. Giant fingertips seem about to punch through its walls.

      “Papa?” she whispers.

       Cellar

      Beneath the lobby of the Hotel of Bees, a corsair’s cellar has been hacked out of the bedrock. Behind crates and cabinets and pegboards of tools, the walls are bare granite. Three massive hand-hewn beams, hauled here from some ancient Breton forest and craned into place centuries ago by teams of horses, hold up the ceiling.

      A single lightbulb casts everything in a wavering shadow.

      Werner Pfennig sits on a folding chair in front of a workbench, checks his battery level, and puts on headphones. The radio is a steel-cased two-way transceiver with a 1.6-meter band antenna. It enables him to communicate with a matching transceiver upstairs, with two other anti-air batteries inside the walls of the city, and with the underground garrison command across the river mouth.

      The transceiver hums as it warms. A spotter reads coordinates into the headpiece, and an artilleryman repeats them back. Werner rubs his eyes. Behind him, confiscated treasures are crammed to the ceiling: rolled tapestries, grandfather clocks, armoires, and giant landscape paintings crazed with cracks. On a shelf opposite Werner sit eight or nine plaster heads, the purpose of which he cannot guess.

      The massive staff sergeant Frank Volkheimer comes down the narrow wooden stairs and ducks his head beneath the beams. He smiles gently at Werner and sits in a tall-backed armchair upholstered in golden silk with his rifle across his huge thighs, where it looks like little more than a baton.

      Werner says, “It’s starting?”

      Volkheimer nods. He switches off his field light and blinks his strangely delicate eyelashes in the dimness.

      “How long will it last?”

      “Not long. We’ll be safe down here.”

      The engineer, Bernd, comes last. He is a little man with mousy hair and misaligned pupils. He closes the cellar door behind him and bars it and sits halfway down the wooden staircase with a damp look on his face, fear or grit, it’s hard to say.

      With the door shut, the sound of the sirens softens. Above them, the ceiling bulb flickers.

      Water, thinks Werner. I forgot water.

      A second anti-air battery fires from a distant corner of the city, and then the 88 upstairs goes again, stentorian, deadly, and Werner listens to the shell scream into the sky. Cascades of dust hiss out of the ceiling. Through his headphones, Werner can hear the Austrians upstairs still singing.

       … auf d’Wulda, auf d’Wulda, da scheint d’Sunn a so gulda …

      Volkheimer picks sleepily at a stain on his trousers. Bernd blows into his cupped hands. The transceiver crackles with wind speeds, air pressure, trajectories. Werner thinks of home: Frau Elena bent over his little shoes, double-knotting each lace. Stars wheeling past a dormer window. His little sister, Jutta, with a quilt around her shoulders and a radio earpiece trailing from her left ear.

      Four stories up, the Austrians clap another shell into the smoking breech of the 88 and double-check the traverse and clamp their ears as the gun discharges, but down here Werner hears only the radio voices of his childhood. The Goddess of History looked down to earth. Only through the hottest fires can purification be achieved. He sees a forest of dying sunflowers. He sees a flock of blackbirds explode out of a tree.

       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