The Hunger Angel Part 4

As a child I'd take a peach and bite into it, he said, then I'd drop it on the ground so it would land where I'd bitten. Then I'd pick it up and eat the sandy spot and drop it again. Until all that was left was the pit. My father took me to the doctor because I wasn't normal, because I liked the taste of sand. Now I have more than enough sand and can't remember what a peach looks like at all.

I said: Yellow, with delicate fuzz and a little red silk around the pit.

We heard the truck coming and got up.

Karli Halmen began shoveling. Tears were running down his face as he filled his shovel. When he sent the sand flying, the tears ran left, into his mouth, and right, into his ear.

The Russians have their ways, too.

Karli Halmen and I were once again riding across the steppe in the Lancia. Steppe-dogs darting off in all directions. Tire tracks everywhere, flattened bundles of gra.s.s, lacquered reddish-brown with dried blood. Everywhere swarms of flies, parading over squashed fur and spilled entrails, some with a fresh blue-white sheen like coiled strings of pearls, others bluish red and half gone to rot, and others withered, like dried flowers. Some dogs had been hurled to the side of the tire tracks, seemingly untouched by the wheels, as though asleep. Karli Halmen said: When they're dead they look like flatirons. In no way did they look like flatirons. How did that ever occur to him, I'd already forgotten the word flatiron.

There were days when the steppe-dogs didn't fear the wheels as much as they should. Perhaps on those days the wind whooshed like the truck, and the similarity confused their instincts. As the wheels approached they'd start to run, but in a daze, not at all as if their life depended on it. I was certain that Kobelian never took the trouble to avoid hitting a steppe-dog. And equally certain that he had never hit one, never caused one to whistle underneath his wheels. Not that you would have heard its high-pitched squeal-the Lancia was too loud.

Even so, I know how a steppe-dog whistles when it gets. .h.i.t by a truck, because I hear it in my mind on every trip. A short, heartbreaking sound, three syllables in a row: ha-se-vey. Exactly like when you kill one with the shovel, because it happens just as quickly. And I also know how at that spot the earth trembles in fright and sends out ripples, like a fat stone falling into water. And I know how your lip burns right afterward, because you bite into it when you strike with all your strength and kill with one blow.

Ever since I left that one dog lying there, I've been telling myself that you can't eat steppe-dogs, even if you don't feel a trace of compa.s.sion for the living ones or the slightest disgust for the dead. If I felt either, it wouldn't be about the steppe-dogs but about me. The disgust would be with myself, for hesitating out of compa.s.sion.

But if we have time on our next trip, if Kobelian lets Karli and me out of the truck even for a little while, just for as long as it takes him to stuff three or four sacks full of young gra.s.s for his goats. Only I don't think Karli Halmen would do it, not with me there. I'd end up wasting several minutes trying to talk him into it, and then it would be too late, even if we did have enough time. I'd have to tell him: There's no reason to be ashamed in front of a steppe-dog, or in front of the steppe. I think he'd be embarra.s.sed in front of himself, at least more than I would be in front of myself. And more than I would be in front of Kobelian. I'd probably have to ask him why he was making Kobelian out to be some kind of standard, and tell him that if Kobelian were as far from home as we are, he'd undoubtedly eat steppe-dogs too.

Some days the steppe was covered with brown-lacquered crushed bundles of gra.s.s that looked as though they had appeared overnight. And overnight all the clouds had melted away. The only things left were the skinny cranes in the sky and the wild, fat blowflies on the ground. But not a single dead steppe-dog lying in the gra.s.s.

What do you think happened to them, I'd ask Karli. What are all those Russians doing, walking through the steppe and bending over and sitting down like that. Do you think they're just resting, that they're all tired. They have a tangled nest inside their skulls just like we do, and the same empty stomach. The Russians have their ways, too, I'd say to him. And they have all the time they need, they live here on the steppe. Believe me, I'd say to Karli, Kobelian doesn't have anything against eating steppe-dogs. Why else would he keep a short-handled shovel in the cab next to the brake-after all, he picks his gra.s.s by hand. When we're not with him, he doesn't just stop to pick goat gra.s.s. I'd say all that to Karli, and I wouldn't be lying, because I'd have no idea what the truth was. Even if I did know, it would only be one truth, and the opposite would be another. Besides, I'd say, you and I are different when we're with Kobelian than we are without him. And I'm different without you. You're the only one who thinks you're never different. But when you stole bread you were different, and I was different, and all the others, too-but that I'd never say to him, because it would sound like a reproach.

Fur stinks when it burns. Hurry up and build the fire, I'd say, if Karli Halmen did decide to join in, I'll skin the animal.

Another week had pa.s.sed. Karli Halmen and I were once again riding across the steppe in the Lancia. The air was pale, the gra.s.s orange, the sun was turning the steppe into late fall. Night frost had sugared the steppe-dogs that had been run over. We drove past an old man. He was standing in a whirl of dust, waving to us with a shovel. It had a short handle. A sack was slung over his shoulder, it was only a quarter full and looked heavy. Karli said: That's not gra.s.s he's getting. If we have time on our next trip, if Kobelian lets us out of the truck even for a little while. I know Kobelian wouldn't mind, but you, you'd rather be tenderhearted, you'd never join in.

They don't call it blind hunger for no reason. Karli Halmen and I didn't know much about each other. We were together too much. And Kobelian didn't know anything about us and we didn't know anything about him. We were all different than we are.

Fir trees.

Shortly before Christmas I was sitting next to Kobelian in the Lancia. It was getting dark, and we were making another illegal trip, this time to his brother's. We were hauling a load of coal.

Cobblestones and the ruins of a train station marked the beginning of a small town. We turned onto a rough, crooked street at the edge of the settlement. Behind a cast-iron fence a cl.u.s.ter of fir trees stood out against the last band of light in the sky, black as night, slender and pointed, rising high above everything else and very distinct. Kobelian drove past two houses and pulled up in front of the third.

When I started to unload the coal he gave a relaxed wave as if to say: Not so fast, we have time. He went into a house that was probably white but which the headlights had turned yellow.

I put my coat on the roof of the cab and shoveled as slowly as I could. But the shovel was my master, it set the time, and I had to follow. And it was proud of me. For years now, shoveling was the only thing left to be proud of. Soon the truck was empty and Kobelian was still inside the house with his brother.

Sometimes plans hatch slowly, but sometimes you make a decision so fast you start acting before you even know you can do it, and that can be electrifying. My coat was already back on. I told myself that stealing could land me in the concrete box, but my feet carried me even faster toward the fir trees. The gate-it must have been an overgrown park or a cemetery-wasn't locked. I broke off the lower branches, then removed my coat and wrapped them inside. Leaving the gate open, I hurried back to Kobelian. His brother's house now loomed white in the darkness, the truck's headlights were no longer on, the tailgate was already closed. My bundle smelled strongly of sap and sharply of fear when I tossed it over my head into the back of the truck. Kobelian was sitting in the cab, stinking of vodka. At least that's what I'd say today, but at the time I thought to myself: He smells of vodka, but he's not a real drunk, he only drinks with heavy meals. Still, he could have shared some with me.

When it's that late you never know what's going to happen at the entrance to the camp. Three guard dogs barked. The guard knocked the bundle out of my arms with the barrel of his rifle. The branches fell to the ground, on top of my fancy coat with the velvet collar. The dogs sniffed first at the branches and then just at the coat. The strongest one, he may have been the leader, bit into the coat and dragged it like a corpse halfway across the camp to the roll-call grounds. I ran after the dog and was able to save the coat, but only because he let go.

Two days later the bread man pa.s.sed me, pulling his cart. And lying on the white linen was a brand-new broom, made from a shovel handle and my fir branches. In three days it would be Christmas-a word that puts green fir trees in every room. All I had were Aunt Fini's torn green woolen gloves stashed away in my trunk. Because Paul Gast the lawyer had been working as a machine operator for the past two weeks, I asked him for some wire. He brought me a bundle of wire snippets, all cut to the width of a hand and tied at one end like a ta.s.sel. I used his wire to make a tree, then unraveled my gloves and tied bits of green yarn onto the branches, very close together, like fir needles.

Our Christmas tree stood on the little table below the cuckoo clock. Paul Gast the lawyer hung two brown bread-b.a.l.l.s as ornaments. At the time I didn't ask myself how he had enough bread for ornaments, first because I was sure he'd eat them the next day, and also because as he was kneading the little b.a.l.l.s, he told us a story from home: Our high school in Oberwischau used to have an Advent wreath that hung right over the teacher's desk. The candles were lit every morning, before our first-period cla.s.s, which was Geography. Our teacher, Herr Leonida, was completely bald. One morning the candles were burning and we started singing: O Tannenbaum, O Tannenbaum, wie grun sind deine Bla- And all of a sudden Herr Leonida let out a shriek: the pink wax had dripped onto his bald head. Blow out those candles, he screamed. Then he jumped over to his chair, grabbed his coat, and pulled out a small knife-a little silver fish. He looked right at me and yelled: Come here. He opened the little knife and lowered his head for me to sc.r.a.pe off the wax. I managed to do it without nicking him, but as soon as I was sitting at my desk, he came up and slapped me. When I tried to wipe the tears from my eyes, he screamed: Hands behind your back.

10 rubles.

Bea Zakel had persuaded Tur Prikulitsch to give me a propusk-a pa.s.s-so I could go to the market. The chance of getting a pa.s.s is something you don't mention to a hungry person. I didn't mention it to anybody. I took my pillowcase and Herr Carp's leather gaiters. As always, it was a matter of finagling the best deal for the most calories. At eleven o'clock I set off, that is to say we set off, my hunger and I.

The day was still hazy from the rain. Peddlers stood in the mud, showing their wares: men with rusty screws and gear wheels, and wrinkled old women with tin dishes and little piles of blue pigment for house paint. The puddles around the paint were blue. Right nearby were other piles, of sugar and salt, dried prunes, corn flour, millet, barley, and peas. Even corn-flour cakes with sugar-beet paste, set on green horseradish leaves. Women without teeth were selling thick sour milk in metal containers, and a one-legged boy with a crutch was standing by a bucket full of red raspberry water. A few young drifters ran around hustling bent knives, forks, and fis.h.i.+ng rods. Little silver fish flitted like living safety pins inside empty tin cans from America.

I pushed through the crowd with my leather gaiters on my arm, pausing in front of an old man in uniform with bald patches on his head and a dozen war medals on his chest. He had two books displayed at his feet: one was about Popocatepetl, and the other had a cover showing two fat fleas. I skimmed through the flea book because it had lots of pictures. Two fleas on a seesaw, next to them the trainer's hand wielding a tiny whip, a flea on the back of a rocking chair, a flea harnessed to a wedding coach fas.h.i.+oned from a nutsh.e.l.l, the chest of a boy with two fleas between his nipples and two parallel chains of fleabites of even lengths running from the fleas down to his navel.

The man in uniform reached out and grabbed my leather gaiters and held them up first to his chest, then to his shoulders. I showed him they were meant for the legs. He let out a hollow laugh, from his belly, the way Tur Prikulitsch sometimes did during roll call, like big turkeys do. His upper lip kept catching on the stump of a tooth. The peddler selling next to him came over and rubbed the leather laces of the gaiters between his fingers. Then a man appeared carrying a handful of knives, which he stuck in his coat pocket. He took the gaiters and held them up to his left hip and his right, then placed them on his bottom and hopped around like a fool, while the man in uniform made farting noises. And then another man came whose neck was all bundled up. He walked on a crutch with an armrest made from a broken scythe wrapped in rags. He slipped his crutch into one of the gaiters and hurled it into the air. I ran after it and picked it up. A little farther down the other gaiter came flying. I bent over to pick that one up and there, lying in the mud next to my gaiter, was a crumpled banknote.

Somebody's lost that, I thought. With luck he hasn't noticed it's missing. Or maybe he's already looking for it, maybe while that mob was teasing me one of them saw it or saw me bend over and is waiting to see what I'll do next. They were still laughing at me and my gaiters, but the money was already in my fist.

I had to quickly make myself scarce and so I pressed into the crowd. I clutched the gaiters tightly under my arm and smoothed out the bill, it was 10 rubles.

10 rubles was a fortune. Don't waste time calculating, just eat, I thought, what doesn't get eaten can go in the pillowcase. I'd had enough of the gaiters-those embarra.s.sing leftovers from another universe, they only made me stick out. So I just dropped them on the ground and flitted off with my 10 rubles like a little silver fish.

My throat was throbbing, I was sweating with fright and paid two rubles for two cups of red raspberry water, which I drank down in one gulp. Then I bought two corn-flour cakes with sugar-beet paste. I even ate the horseradish leaves, thinking that because they were bitter, they must be good for the stomach, like medicine. Then I bought four Russian pancakes with cheese filling. Two for me and two for the pillowcase. After that I drank one small canful of thick sour milk and bought two pieces of sunflower-seed cake, both of which I ate. Then I saw the one-legged boy again and drank another cup of red raspberry water. After that I counted how much money I had left: 1 ruble and 6 kopeks, not enough for sugar, or even salt. While I was counting, I could feel the woman with the dried prunes watching me. She had one brown eye and one eye that was completely white and without a pupil, like a bean. I showed her my money. She pushed my hand away, saying no and waving her arms as if she were shooing flies. I stayed rooted where I was and kept holding up my money. I started to s.h.i.+ver, then crossed myself and mumbled as if praying: Our Father, save me from this G.o.dd.a.m.ned hideous hag. Lead her into temptation and deliver me from evil. As I mumbled, I thought about Fenya's cold saintliness, and when I was done I said a hard, clear AMEN, to give some form to my prayer. The woman was moved and fixed me with her bean eye. Then she took my money and filled an old green Cossack cap with prunes. I dumped half of them in my pillowcase and the rest in my quilted cap, to eat right away. And after I finished the prunes in the cap, I ate the two pancakes I had left. And then there was nothing in the pillowcase except a handful of prunes.

The wind flew warmly through the acacias, the mud in the puddles curled up into gray cups. On the path that ran beside the road to the camp a goat was tethered to a stake. Its neck was rubbed raw from constantly chafing against the rope, which had circled the stake so many times the goat could no longer reach the gra.s.s. The goat had a sidelong gaze like Bea Zakel and a tormented quality like Fenya. It tried to follow me. I thought about the blue, dry-frozen goats that had been split in two and tossed into the cattle car and which we had used for heating. I was only halfway to the camp, I was going to be late, and on top of that I'd be showing up with prunes in my pillowcase. To keep them away from the guards I ate the rest. Through the poplars behind the Russian village I could already see the cooling tower. Above its white cloud the sun grew square and slipped into my mouth. My throat was walled shut, I gasped for air. My stomach ached, my intestines rumbled and twisted in my belly like scimitars. My eyes teared up, and the cooling tower began to spin. I leaned against a mulberry tree, and the earth beneath it began to spin. A truck began to flutter on the road, and on the path three stray dogs began to blur together. I threw up all over the tree, and I felt so bad about wasting all the expensive food that I cried even as I threw up.

Then it all lay glistening beside the mulberry tree.

All of it, all of it.

I leaned my head against the trunk and stared at the glistening chewed-up food, as if I could eat it all over again with my eyes. Then I pa.s.sed under the first watchtower in the empty wind, with an empty pillowcase and an empty stomach. The same as before, except without my leather gaiters. My lucky gaiters. The guard was spitting sunflower-seed husks from the tower, they sailed through the air like flies. The emptiness inside me was bitter as gall, I felt sick. But the minute I was in the yard I was already wondering if there was any cabbage soup left in the mess hall. The mess hall was closed. And I chanted to the drumming clatter of my wooden shoes: The Matron with her white cloud is real. My shovel is real. My bunk in the barrack is real. And I'm sure there's a gap between being hungry and dropping dead. I just have to find it, since the urge to eat is stronger than I am. Fenya limps but thinks straight. Her chilly saintliness is just. She gives me my share of food. Why go to the market, the camp keeps me locked up for my own good. I can only be made a laughingstock where I don't belong. I'm at home in the camp. The guard from this morning recognized me, he waved me through the gate. And his dog knows me too, he didn't budge from the warm pavement. And the roll-call grounds know me, and I can find my way to my barrack even with my eyes closed. I don't need a day pa.s.s, I have the camp, and the camp has me. All I need is a bunk and Fenya's bread and my tin bowl.

I don't even need Leo Auberg.

On the hunger angel Hunger is an object.

The angel has climbed into my brain.

The angel doesn't think. He thinks straight.

He's never absent.

He knows my boundaries and he knows his direction.

He knows where I come from and he knows what he does to me.

He knew all of this before he met me, and he knows my future.

He lingers in every capillary like quicksilver. First a sweetness in my throat. Then pressure on my stomach and chest. The fear is too much.

Everything has become lighter.

The hunger angel leans to one side as he walks with open eyes. He staggers around in small circles and balances on my breath-swing. He knows the homesickness in the brain and the blind alleys in the air.

The air angel leans to the other side as he walks with open hunger.

He whispers to himself and to me: where there is loading there can also be unloading. He is of the same flesh that he is deceiving. Will have deceived.

He knows about saved bread and cheek-bread and he sends out the white hare.

He says he's coming back but stays where he is.

When he comes, he comes with force.

It's utterly clear:.

1 shovel load = 1 gram bread.

Hunger is an object.

Latin secrets.

After wolfing down our food in the mess hall, we shove the long wooden tables and the benches against the wall. Now and then on Sat.u.r.day nights we're allowed to dance until a quarter before midnight, then we have to put everything back. At twelve on the dot, when the loudspeaker plays the Russian anthem, everyone has to be in his barrack. On Sat.u.r.days the guards are feeling happy from drinking sugar-beet liquor and their fingers can be light on the trigger. If someone's found dead in the yard on Sunday morning the word is: attempted escape. The fact that he had to run to the latrine in his underwear because his guts were worn out and could no longer digest the cabbage soup is no excuse. Even so, we shuffle out a tango now and then on our mess-hall Sat.u.r.days. When you dance you're like the Crescent Moon Madonna at Cafe Martini, living on your tiptoes in the world you come from-the world of ballrooms and garlands and Chinese lanterns, of evening dresses, brooches, ties, pocket squares, and cuff links. My mother is dancing. She has her hair in a bun braided like a little basket, with two curls spiraling down her cheeks. She's wearing light-brown sandals with high heels and straps as thin as pear peels, a green satin dress, and a brooch right over her heart-four emeralds in the shape of a lucky clover. And my father is wearing his sand-gray suit with a white square in his pocket and a white carnation in his b.u.t.tonhole.

But I'm wearing lice in my fufaika and footwraps that stink inside my rubber galoshes, I'm a forced laborer getting dizzy from the ballroom back home and the emptiness in my stomach. I dance with Zirri Kaunz, the one with the silky hair on her hands. The other Zirri, with the olive-sized wart under her ring finger, is Zirri Wandschneider. While we're dancing, Zirri Kaunz a.s.sures me that she comes from the village of Kastenholz-or Boxwood-and not from Wurmloch-Wormhole-like the other Zirri. And that her father came from Wolkendorf-or Cloudville. That before she was born her parents moved to Kastenholz because her father bought a large vineyard there. I tell her there's also a village called Liebling-Darling-and a town called Gross-Scham or Big-Shame, but they're in the Banat, not Transylvania. I don't understand the first thing about the Banat, says Zirri. I don't either, I say, spinning around her in my sweaty fufaika, while her sweaty fufaika spins around me. The whole mess hall is spinning. There's nothing to understand when everything is spinning. And then I mention the wooden cabins behind the camp, which for some reason are called Finnish cabins though the people who live there are Russian Ukrainians. There's nothing to understand about that either, I say.

After the break comes La Paloma. I dance with the other Zirri. Loni Mich, our singer, stands half a step in front of the musicians. For La Paloma she takes another half step forward, because she wants to have the song all to herself. She keeps her arms and legs completely still, but her eyes roll and her head sways. Her small goiter trembles, her voice turns raw like the undertow of deep water: A s.h.i.+p can go down very fast.

And all of us sooner or later.

Will breathe our last So it's anchors aweigh.

We all reach the day When we're claimed by the sea.

And what the waves take away.

Never comes back.

Everyone has to keep silent while dancing our pleated Paloma. You go mute and think what you have to think, even if you don't want to. We shove our homesickness across the floor like a heavy crate. Zirri lets her feet drag, I press my hand against the small of her back until she regains the rhythm. She's had her head turned away from me for some time, so I can't see her face. But her back is quivering, and I can tell that she's crying. The shuffling is loud enough so that I don't have to say anything. What could I say other than she shouldn't cry.

It's impossible to dance without toes, so Trudi Pelikan sits on a bench off to the side, and I sit down next to her. In the first winter her toes froze. The following summer they were squashed by the lime wagon. That fall they were amputated because worms got under the bandage. Since then Trudi Pelikan has walked on her heels, so she compensates by tilting her shoulders forward. That makes her back a little hunched, and her arms as stiff as shovel handles. She couldn't work at the construction site or in a factory or in the garage, and during the second winter she was a.s.signed to the sick barrack.

We talk about the sick barrack, that it's nothing more than a place to die. Trudi Pelikan says: Ichthyol salve is the only thing we have that's of any use. Even the Russian medic has remarked that the Germans die in waves. The winter wave is the biggest. The second biggest comes in summer, when the diseases spread. The autumn wave comes when the tobacco ripens. People poison themselves with tobacco broth, it costs less than coal alcohol. And it doesn't cost a thing to open your vein with a shard of gla.s.s, or to slice off your hand or foot. It doesn't cost anything to run headfirst into a brick wall until you collapse, either, although that's a little harder to do, says Trudi Pelikan.

Most people only knew each other by sight, from the mess hall or the Appell. I realized many were missing. But unless they'd collapsed right in front of me I didn't consider them dead. And I took care not to ask where they might be. Still, when the evidence is staring you in the face, when you know so many have died, fear becomes a powerful thing, even overpowering after a while-and therefore remarkably similar to indifference. This is what allows you to act so fast when you're the first to discover a dead person. You have to undress him quickly, before the body gets too stiff to bend, and before someone else makes off with his clothes. You have to take his saved bread out of his pillowcase before someone else beats you to it. Clearing away the dead person's things is our way of mourning. When the stretcher arrives in the barrack, there should be nothing to haul away but a body.

If you don't know the dead person, then you only stand to gain. There's nothing wrong with clearing things away: if the situation were reversed, the corpse would do the same to you, and you wouldn't begrudge him that, either. The camp is a practical place. You can't afford to feel shame or horror. You proceed with steady indifference, or perhaps dejected contentment. And this has nothing to do with schadenfreude. I believe that the less skittish we are around the dead, the more we cling to life. And the more we fall prey to illusions. You convince yourself that the missing people have simply been moved to another camp. It doesn't matter what you know, you believe the opposite. Just like the bread court, the act of clearing away happens only in the present moment. But there is no violence, everything proceeds matter-of-factly and peacefully.

Outside my father's house there stands a linden.

Outside my father's house there is a chair.

And if I find my way back home again.

Then I will spend my whole life there.

So sings our singer Loni Mich, the sweat beading up on her forehead. David Lommer has his zither on his knees, the metal ring on his thumb. After each line he plucks a quiet echo and sings along. And Anton Kowatsch inches his drum forward until he can squint at Loni's face through his drumsticks. The couples stumble awkwardly through the song, hopping like birds trying to land in a heavy wind. Trudi Pelikan says we're no longer capable of walking anyway, all we can do is dance, we're nothing but quilted jackets filled with slos.h.i.+ng water and clattering bones, weaker than the drumbeats. To prove her point she offers me a list of Latin secrets from the sick barrack.

Polyarthritis. Myocarditis. Dermat.i.tis. Hepat.i.tis. Encephalitis. Pellagra. Slit-mouth dystrophy, called monkey-skull face. Dystrophy with stiff cold hands, called rooster claw. Dementia. Teta.n.u.s. Typhus. Eczema. Sciatica. Tuberculosis. Then dysentery with bright b.l.o.o.d.y stools, boils, ulcers, muscular atrophy, dry skin with scabies, shriveled gums with decayed and missing teeth. Trudi Pelikan doesn't mention frostbite, doesn't talk about the brick-red skin and angular white patches that turn dark brown at the first spring warmth and are already showing on the faces of the people dancing. And because I don't say anything or ask anything, nothing at all, Trudi Pelikan pinches my arm hard and says: Leo, I mean it, don't die in the winter.

And the drummer sings in harmony with Loni:.

Sailor, leave your dreaming.

Don't think about your home.

All winter long-Trudi is speaking through the singing-the dead are stacked up in the back courtyard and shoveled over with snow, and left there for a few days until they're frozen hard enough. And then the gravediggers, who she says are lazy louts, chop the corpses into pieces so they don't have to dig a grave, just a hole.

I listen carefully to Trudi Pelikan and start to feel that I've caught a little bit of each of her Latin secrets. The music makes death come alive, he locks arms with you and sways to the rhythm.

I flee from the music to my barrack. I glance at the two watchtowers where the camp faces the road, the guards are standing thin and rigid. They look as though they just stepped off the moon. Milk flows from the guard lights, laughter flies from the guardhouse, they're drinking sugar-beet liquor again. A guard dog is sitting on the main street of the camp. He has a green glow in his eyes, and a bone between his paws. I think it's a chicken bone, I'm envious. He senses what I'm after and growls. I have to do something so he doesn't pounce on me, so I say: Vanya.

I'm sure that's not his name, but he looks at me as though he could say my name, too, if he only wanted to. I have to get away, before he actually says it. I take several large steps and turn around a few times to make sure he isn't following me. At the door to my barrack I see he still hasn't returned to his bone. His eyes are following me, or my voice, and the name Vanya. Guard dogs, too, have a memory that goes away and comes back. And hunger doesn't go away but comes back. And loneliness is like hunger. Maybe Russian loneliness is named Vanya.

Still wearing my clothes, I crawl into my bunk. Above the little wooden table, the light is burning, as always. As always, when I can't fall asleep I stare at the stovepipe, with its black knee joint, and at the two iron fir cones of the cuckoo clock. Then I see myself as a child.

I'm at home, standing at the veranda door, my hair is black and curly and I'm no taller than the door handle. I'm holding my stuffed animal in my arm, a brown dog named Mopi. My parents are coming back from town, along the uncovered wooden walkway. My mother has wound the chain of her red patent-leather purse around her hand so it won't rattle when she climbs the stairs. My father's carrying a white straw hat. He goes inside. My mother stops, brushes the hair off my forehead, and takes my stuffed animal, my kuscheltier-my cuddle toy. She places it on the veranda table, the chain of her purse rattles, and I say: Give me my Mopi or else I'll be alone.

She laughs: But you have me.

I say: But you can die and Mopi can't.

Above the light snoring of the people who were too weak to go dancing I hear my voice from years ago. It's strange how velvety it sounds. KUSCHELTIER-what a soft name for a dog stuffed with sawdust. But here in the camp there's only KUSCHEN-knuckling under-because what else would you call the silence that comes from fear. And KUSHAT' means eat in Russian. But I don't want to think of eating now, in addition to everything else. I dive into sleep, and I dream.

I'm riding home through the sky on a white pig. From the air it's easy to make out the land below, the boundaries look right, the plots are even fenced in. But the land is dotted with ownerless suitcases, and ownerless sheep are grazing among the suitcases. Hanging from their necks are fir cones that ring like little bells. I say: That's either a large sheep shed with suitcases or a large train station with sheep. But there's n.o.body there anymore, where am I supposed to go now.

The hunger angel looks at me from the sky and says: Ride back.

I say: But then I'll die.

If you die, I'll make everything orange, and it won't hurt, he says.

And I ride back, and he keeps his word. As I die, the sky over every watchtower turns orange, and it doesn't hurt.

Then I wake up and use my pillowcase to wipe the corners of my mouth. That's the bedbugs' favorite spot at night.

Cinder blocks.

The cinder blocks used for walls are made of slag, cement, and lime slurry. They're mixed in a revolving drum and shaped in a block press with a hand lever. The brickworks were located behind the c.o.ke plant, near the slag heaps on the other side of the yama. That area had enough room for drying thousands of freshly pressed blocks. They were laid out on the ground in narrow rows, close together like gravestones in a military cemetery. Where the ground was swollen or pockmarked with holes, the rows were wavy. The wet blocks were carried there on little boards that were also swollen, cracked, and pockmarked with holes.

Carrying the blocks involved a long balancing act, forty meters from the press to the drying area. The rows were never even, because each person had his own way of balancing and positioning his block. Also because the blocks weren't set down in any order-some were placed in front, some in back, and some in the middle of a row, either to replace a ruined block or to use s.p.a.ce that had been overlooked the previous day.

The freshly pressed ma.s.s weighed ten kilograms and was crumbly like wet sand. Carrying the board in front of you required nimble footwork-you had to coordinate your shoulders, elbows, hips, stomach, and knees with every step. The ten kilos weren't yet a cinder block, and you couldn't let them know you were carrying them. You had to trick them by rocking evenly back and forth, so the material wouldn't wobble, and then let it slide off in one move at the drying area. Everything had to happen quickly and evenly, so that the new block made a smooth landing, scared but not jolted. For this you needed to squat, bending your knees until the board was under your chin, then spread your elbows like wings and let the block slip off just right. That was the only way you could place it close to the next block without damaging the edges of either. One false move and the block would collapse like so much dirt.

Carrying the blocks, and especially placing them, put a strain on your face as well. You had to keep your tongue straight and your eyes fixed squarely ahead. If anything went wrong you couldn't even curse in anger. After a cinder-block s.h.i.+ft, our eyes and lips were as stiff and square as the blocks. And on top of this we had the cement to cope with. The cement ran away, it flew through the air. More cement stuck to our bodies and to the drum and to the press than got mixed into the bricks. To press the cinder blocks you first set your board in the mold. Then you shoveled some mix into the form and pulled the lever. Then you pulled the lever again to raise both the board and the new block. After that you took the board and carried it off to the drying area, with nimble footwork and without losing your balance.

Cinder blocks were pressed day and night. In the mornings the mold was still cool and moist from the dew, your feet were still light, the sun had yet to hit the drying area. But it was already blazing on the peaks of the slag heaps, and by midday the heat was overpowering. Your feet lost their even gait, your knees shook, every nerve in your calves simmered. Your fingers were numb. You could no longer keep your tongue straight while placing the blocks. There was a lot of waste, and a lot of beating. In the evening a spotlight cast a beam of harsh light on the scene. Moths twirled around, and the mixing drum and the press loomed in the light like machines covered with fur. The moths weren't drawn only to the light. The moist smell of the mix attracted them, like night-blooming flowers. They settled on the blocks that were drying, tapping with their threadlike legs and feeding tubes, even though much of the area was only half-lit. They also settled on the block you were carrying and distracted you from your balancing act. You could see the little hairs on their heads, the decorative rings on their abdomens, and you could hear their wings rustling, as though the block were alive. Occasionally two or three appeared at once and sat there as though they'd hatched out of the block itself. As though the wet mix on the board were not made of slag, cement, and lime slurry but was a square lump of larvae from which the moths emerged. They let themselves be carried from the press to the drying area, out of the spotlight into the layered shadows. The shadows were crooked and dangerous, they deformed the outlines of the blocks and distorted the rows. The block on its board no longer knew what it looked like. And you felt unsure, afraid you might mistake the edges of the shadows for the edges of the blocks. The flickering slag heaps a little way off added to the confusion. They glowed in countless places with yellow eyes, like nocturnal animals that create their own light, illuminating or burning off their lack of sleep. The slag heaps' glowing eyes smelled sharply of sulfur.