Hermann takes one more swing. His empty coat sleeve flutters, he makes wild motions with the stump of his arm to keep his balance, and two booted enemies in his path gape at him with amazement and horror. One gets a cut in the chin, the other, as he sees the artifical black hand hurtling toward him, screeches with terror, shuts his eyes, and runs.
We reach the attractive, square sandstone building and take refuge on the women's side. It is easier to defend. On the men's side they might climb in through the window and take us in the rear; on the women's side the windows are small and high.
Our enemies have followed us. There must be at least twenty of them by now; they have been reinforced by some Nazis. I can see a few of their shit-colored uniforms. They are trying to break in on the side where Köhler and I are standing. But amid the confusion I see help coming. A moment later Riesenfeld is bringing his rolled-up brief case, full of samples of granite I hope, down on someone's skull, while Renée de la Tour has taken off one of her high-heeled shoes, seized it by the toe, and is flailing away with the heel.
As I watch all this someone butts me in the stomach with his skull and my breath shoots out of my mouth with a bang. I strike about me feebly and wildly, and have at the same time a feeling of being in a familiar situation. Automatically I raise my knee, expecting the billy goat to attack again. At that instant I see one of the loveliest sights imaginable in such a situation: Lisa, like the Victory of Samothrace, is storming across New Market, beside her Bodo Led-derhose and behind him his singing club. At the same instant I feel the billy goat again and see Riesenfeld's brief case descend like a yellow flag. Simultaneously Renée shouts in her vibrant voice of command: "Halt, you swine!" A number of our attackers involuntarily jump. Then the singing club goes into action and we are free.
I straighten up. It is suddenly quiet. Our attackers have fled, dragging their wounded with them. Hermann Lotz is coming back. He has pursued the fleeing foe like a centaur and has succeeded in landing one more good crack. We have got off not badly. I have a fair-sized bump on my head and I feel as though my arm were broken. It is not. But I feel very sick. I have drunk too much to enjoy blows in the stomach. Once more I am tormented by that tantalizing, familiar memory which I cannot place. What was it? "I wish I had a schnaps," I say.
"You'll get one," Bodo Ledderhose replies. "Come along now, before the police turn up."
Just then there is the sound of a resounding slap. We turn around in surprise. Lisa has hit someone. "You damned drunkard!" she says with dignity. "So this is the way you look after your home and wife—"
"You—" the figure gurgles.
Lisa's hand descends again. And now, suddenly, the knots of memory are released. Watzek! There he stands, oddly grasping his behind.
"My husband!" Lisa says to New Market in general. "That's the man I'm married to."
Watzek makes no reply. He is bleeding profusely. The old wound I gave him has opened again. In addition, blood is running out of his hair. "Did you do that with your brief case?" I ask Riesenfeld softly.
He nods, watching Watzek attentively. "What odd places people meet!" he says.
"What's the matter with his rear end?" I ask. "Why is he holding onto it?"
"A wasp sting," Renée de la Tour replies, replacing a long hat pin in her ice blue satin cap.
"My respects!" I bow low before her and go over to Watzek. "So," I say, "now I know who was butting me in the stomach! Is this the thanks I get for my instruction in a finer way of life?"
Watzek stares at me. "You? I didn't recognize you! My God!"
"He never recognizes anybody," Lisa explains sarcastically.
Watzek makes a sorry picture. And yet I notice that he has actually followed my advice. He has had his mane cut, with the result that Riesenfeld's blow was all the more effective; he is also wearing a new white shirt, on which the bloodstains show up clearly. He really is a bad-luck bird.
"Back home with you! You pig's foot, you brawler!" Lisa says, departing. Watzek follows her at once. They wander across New Market, a strange pair. No one follows them. Georg helps Lotz adjust his artificial arm.
"Come along," Ledderhose says. "We can still get a drink in my inn. A private party!"
We sit for a while with Bodo and his club. Then we start
homeward. The gray of dawn is crawling across the streets. A newspaper boy comes by Riesenfeld motions to him. The big headlines on the front page read: INFLATION ENDS! ONE MARK FOR A TRILLION!
"Well?" Riesenfeld says to me.
I nod.
"Children, I may actually be broke," Willy announces. "I've kept on playing it short." He looks ruefully at his gray suit and then at Renée. "Well, easy come, easy go—it was only money anyway."
"Money is very important," Renée replies coolly. "Especially when you haven't got it."
Georg and I walk along Marienstrasse. "Strange that Watzek got his beating from me and Riesenfeld," I say, "not from you. It would have been more natural if you and he had fought."
"More natural, perhaps, but not more fair."
"Fair?" I ask.
"In a complicated sense. I'm too tired now to disentangle it. Men with bald heads oughtn't to fight. They ought to philosophize."
"Then you'll have a lonesome life. The times look like fighting."
"Maybe not. Some kind of horrid carnival has come to an end. Doesn't today feel like a cosmic Ash Wednesday? A huge soap bubble has burst."
"And?" I say.
"And?" he replies.
"Someone will blow a new and bigger one."
"Perhaps."
We stop in the garden. The milky light of morning is streaming like a gray flood around the crosses. The youngest Knopf daughter appears, sleepy-eyed. She has been waiting up for us. "Father says you can buy back the headstone for twelve trillion."
"Tell him we offer eight marks. And the offer only holds until noon today. Money will be very short."
"What's that?" Knopf asks from his bedroom window, where he has been listening.
"Eight marks, Herr Knopf. And after noon today only six. Prices are going down. Who would ever have expected that, eh? Instead of up."
"I'd rather keep it through all eternity, you damned grave robbers!" Knopf screeches, slamming the window.
24.
The Werdenbrück Poets' Club is holding a farewell party for me in the Old German Room at the Walhalla. The poets are uneasy; they pretend deep feeling. Hungermann is the first to come up to me. "You know my poems. You yourself said they were one of your deepest poetical experiences. Deeper than Stefan George."
He looks at me intently. I never said anything of the sort. It was Bambuss who said it: in return Hungermann said that he considered Bambuss more significant than Rilke. But I do not correct him. I look expectantly at the poet of Casanova and Mohammed.
"Well then," Hungermann goes on, but his attention is distracted. "By the way where did you get that new suit?"
"I bought it today with a Swiss honorarium," I reply with all the modesty of a peacock. "It's the first new suit I've had since I was a soldier of His Majesty. No remade uniform. Real civilian clothes! The inflation is over!"
"A Swiss honorarium? So you're already internationally known? Well, well," Hungermann says, surprised and instantly rather vexed. "From a newspaper?"
I nod. The author of "Casanova" makes a deprecatory gesture. "I thought so!" Of course my things are not for the daily press! Only for first-rate literary magazines, if at all. Unfortunately a volume of my poems was published by Arthur Bauer here in Werdenbrück three months ago. An outrage!"
"Were you forced to do it?"
"Yes, morally speaking. Bauer lied to me. He said he was going to launch a terriffic publicity campaign, he was going to enlarge his press and publish not only my work but Mo-rike, Goethe, Rilke, Stefan George, and, above all, Holder-lin. He hasn't done any of it."
"He published Otto Bambuss," I reply.
Hungermann frowns. "Bambuss—between us, a bungler and imita
tor. That did me harm. Do you know how many copies of my work Bauer has sold? No more than five hundred!"
I know from Bauer that the entire printing consisted of two hundred and fifty copies; twenty-eight have been sold and nineteen of these were bought secretly by Hungermann. And it was not Hungermann who was forced to publish but Bauer. Hungermann blackmailed him with the threat of recommending another book dealer to the high school where he teaches.
"Now that you're going to be on a newspaper in Berlin," Hungermann goes on, "you know, friendship among artists is the noblest thing in the world!"
"I know. The rarest too."
"So it is." Hungermann draws a slender volume out of his pocket. "Here—with a dedication. Write something about it in Berlin. And send me two proofs. On my side, I will keep faith with you here in Werdenbrück. And if you find a good publisher up there—the second volume is in preparation."
"Agreed."
"I knew I could rely on you." Hungermann solemnly shakes my hand. "Aren't you going to publish something soon?"
"No. I've given it up."
"What?"
I'm going to wait a while," I say. "I want to look around in the world a bit."
"Very wise!" Hungermann exclaims with emphasis. "If only more people would do that instead of publishing immature stuff and getting in the way of their betters!"
He looks sharply around the room. I expect at least a wink, but he is all seriousness. I have turned into a business opportunity and his sense of humor has abandoned him. "Don't tell the others about our arrangement," he adds with emphasis.
"Certainly not," I reply and see Otto Bambuss stalking me.
An hour later I have in my pocket a copy of Bambuss's "Voices of Silence" with a flattering dedication, and, in addition, a carbon copy of the sonnet sequence "The Tigress," which I am to get published in Berlin; from Sommerfeld a copy of the "Book of the Dead" in free verse, from other members a dozen additional works—and from Eduard a carbon of his "Paean on the Death of a Friend" in 186 lines, dedicated to "Valentin, Comrade, Fellow Warrior, and Man." Eduard works easily and quickly.
Suddenly it all seems remote. As remote as the inflation, which died two weeks ago—or my childhood which was smothered overnight in a uniform. As remote as Isabelle.
I look at the faces around me. Are they still the faces of awestruck children, confronted by chaos and miracle, or are they already the faces of conscientious club members? Is there still something in them of Isabelle's rapt and terrified countenance, or are they more imitators, noisily exploiting that tenth of a talent which every youth possesses, whose disappearance they boast of and enviously celebrate instead of cherishing it in silence and trying to preserve some bit of it for the future?
"Comrades," I say. "I hereby resign from your club."
All faces turn toward me. "Impossible! You'll be a corresponding member in Berlin," Hungermann declares.
"I'm resigning," I say.
For an instant the poets are silent. They look at me. Am I mistaken or do I see something like the fear of discovery in the faces of some? "Do you really mean it?" Hungermann asks.
"I really mean it."
"All right. We accept your resignation and we hereby make you an honorary member."
Hungermann glances around. There is resounding applause. The faces relax. "Unanimously passed!" says the poet of Casanova.
"I thank you," I reply. "This is a proud moment. But I cannot accept. It would be like being turned into a statue. Or a gravestone. I do not want to go into the world as the honorary member of anything—not even of our establishment in Bahnstrasse."
"That's not a nice comparison," says Sommerfeld, the poet of Death.
"Give him leave," Hungermann decrees. "Well then, how do you want to go into the world?"
I laugh. "As a spark of life struggling to avoid extinction."
"Dear God," Bambuss says, "isn't there something like that in Euripides?"
"Possibly, Otto. Then there must be something to it. Besides, I don't intend to write about it; I'm going to try to be it."
"It isn't in Euripides," Hungermann, the academician, announces with a triumphant glance at Bambuss, the village schoolmaster. "So you intend—" he says to me.
"Last night I made a fire," I say. "It burned well. You know the old marching order: travel light."
They nod eagerly. They have long since forgotten it, I suddenly realize. "All right then," I say. "Eduard, I still have twelve luncheon coupons. The inflation has overtaken them, but I believe I would still have the legal right, even if I had to go to court about it, to demand food from you. Will you trade two bottles of Reinhartshausener for them? We want to drink them now."
Eduard made a lightning calculation, counting in Valentin as well as the poem about Valentin in my pocket. "Three," he says.
Willy is sitting in a small room. He has exchanged his elegant apartment for this. It is a terrific fall in the world, but Willy is bearing it well. He has saved his suits, and some of his jewelry; with these he will be able to play the elegant cavalier for some time to come. The red car had to be sold. He had speculated too recklessly on continued depreciation. The walls of his room are papered with notes and worthless bonds of the inflation. "It was cheaper than wallpaper," he explains. "And more entertaining."
"And now?"
"I'll probably get a small job in the Werdenbrück bank." Willy grins. "Renée is in Magdeburg. She writes that she's having a big success in 'The Green Cockatoo.'"
"It's nice that she goes on writing at least."
Willy makes an expansive gesture. "None of it matters, Ludwig. Out of sight, out of mind! Besides, for the last month I haven't been able to persuade Renée to play the general at night. So it was only half the fun. The only time lately that she shouted a command was during that memorable battle at the pissoir in New Market. Farewell, youth! As a going-away present—" he opens a bag full of bonds and paper money. "Take anything you like! Millions, billions —it was a dream, wasn't it?"
"Yes," I say.
Willie accompanies me to the street. "I've saved a few hundred real marks," he whispers. "The fatherland is not yet lost! Now it's the turn of the French franc. I'm going to speculate on its falling. Would you like to take a small flier with me?"
"No, Willy. From now on I'm only speculating on rises."
"Rises," he says as though he were saying Popocatepetl.
I am sitting alone in the office. It is my last day. I am leaving tonight. As I leaf through a catalog, wondering whether to include Watzek's name on one of the tombstones I have drawn, the telephone rings.
"Are you the one called Ludwig?" a husky voice inquires. "The one who used to collect frogs and slowworms?"
"Could be," I reply. "It depends on the reason. Who's speaking?"
"Fritzi."
"Fritzi! of course it's me! What has happened? Has Otto Bambuss—"
"The Iron Horse is dead."
"What?"
"Yes. Last evening. Heart attack. While at work."
"A beautiful death," I say. "But too young!"
Fritzi coughs. Then she says: "You're in some sort of monument business, aren't you? You told me about it once!"
"We have the best monument business in the city," I reply. "Why?"
"Why? My God, Ludwig, I'll give you three guesses! The Madame naturally wants to give the order to a client. And, besides, it was on the Iron Horse that you—"
"Not I," I interrupt. "But possibly my friend Georg—"
"No matter, a client is to have the order. Come on out here! But come soon! A salesman for your competitors has been here already—he kept weeping and saying it was on the Horse that he—"
Weeping Oskar! Not a doubt of it! "I'm coming at once!" I say. "That blubberer was lying!"
The Madame receives me. "Do you want to see her?" she asks.