HOW’S THINGS?
Can’t complain.
JOHANN’S LIST OF TOP CANDIDATES FOR HIS FIRST time ever:
1. Wiebke, daughter of Herr Krone. Unfortunately her father is always sarcastic, and a butcher too (dangerous mixture).
2. Andrea from the eco-café in Parmen. Tricky, because eco people have to keep so many rules.
3. New on the list: Anna riding her bike in her dress with spaghetti straps.
After two hours of solitary confinement, Johann is beginning to feel bored. He opens the chest that he pushed to the side of the room earlier. There is a single book in it, wrapped in cloth, old and thick. Instead of a title it has a cross on the cover.
Johann sits on the table, takes a sip of Cola. It is a church register, or maybe a chronicle. The first entry dates from 1587.
Johann leafs on through it.
In the year of Our Lord 1615, in the Month of June, the Following took place. After Konrad Köhler wasted away, losing his Hair and his Power of Speech, and then perish’d of his Sickness and lay Dead, his Mother suspected a young Maidservant, Anna Meier, whom he was said to have reprov’d once, and so the Meier Girl was taken Prisoner, and confess’d under Torture that she was to blame. According to the Sentence pronounc’d on her as a Witch in Brandenburg, she was torn to Pieces with Six pairs of hot Pincers, and then burn’d at the Stake. This Execution took Place on the Eve of the Anna Feast, and was of unusually long Duration, for a violent Storm was raging over the Village, with much Thunder and Lightning.
4. Or maybe Jessie from the Landshop supermarket would be a better choice? MILF. Experienced, an older woman, wears those Crocs shoes with holes in them. Lada says women over thirty who wear Crocs are particularly randy. Jessie is married. Married women, says Lada, are even randier. Lada says they’re like war veterans who still want to prove their worth on the battlefield.
THE FERRYMAN ONCE SAID THAT THERE IS SOMEONE in the village who has more memories of other people than memories of his own. The village immediately felt sure that he meant Ditzsche. But we think he could have meant other people.
Ditzsche checks the egg box. There is still music playing in his apartment. He takes the coins out of the box, counts the eggs. Eight euros, and Piazzolla’s Argentinian music playing indoors. Ditzsche: a thin man, sinewy. He closes the lid of the box, taps out the rhythm of a few bars on it.
We don’t know what to make of Ditzsche. What is it that the night finds interesting about him? The fact that he’s always a loner? The loneliness of an old man? But we have Herr Schramm for that. Ditzsche never seems seriously bothered by being alone. Not with his chickens, not with his music, not with our letters. Maybe that’s it? The postman as an informer. On the other hand: nothing was ever proved against him, and he himself has denied acting on anyone’s instructions. And certainly he denied reading our letters.
Dietmar Dietz is like an earworm, a catchy phrase from a song you hardly know. A song of which you remember just that one memorable line from the refrain, and very likely you get that wrong (betraying the village, passionately keen on dancing, clucking chickens, shy with other people). The tune won’t let go of you, you hum and whistle along with it, you don’t even know whose song it is.
Ditzsche disappears into the yard and checks up on his poultry. The vixen is lurking in the darkness outside, the limping vixen, blind in one eye now. She has probably caught the scent of the eggs. She crosses the road and gets up on her hind legs, forepaws propped against the table, nose against the box. With one leap she is on top of it.
The song is the song of those whose aim doesn’t go wrong. The song of the driven and unforgiven. Even hurt, even in a spin, we and the fox both want to win. The song is unorthodox, the song of a fox, the song of a fox who opens a box.
FRAU REIFF LETS HER CAT OUT AND WAITS WITH her hand on the door, out of curiosity or civility, for Anna, Herr Schramm and Frau Schwermuth to be within hearing distance so that she can wish them a good evening. “Still out and about so late?”
The trio, as if in chorus: “Yes.”
A few years ago Frau Reiff bought the old smithy, renovated it with the help of friends and the village, and now has a pottery workshop there. We think it’s the most beautiful house in all Fürstenfelde.
What do we mean by beautiful? Nicer than the neighboring houses. The sun comes in, the house stores up the warmth, it has a history, that kind of thing. One very important point is that Frau Reiff did much of the renovation herself. It has its own garden, another plus point. For instance, think of all the extra vegetables that can be given away to neighbors who don’t have any garden! Or her family in the city, who can be persuaded of the advantages of a country life by having their mouths literally stuffed with those vegetables to silence them. Something else that matters is what kind of a person you are. If you have a nasty character, the facade of your house is nasty too, that’s what we say here. Who’s going to praise someone’s hedge if they don’t like the hedge’s owner? We also think Frau Reiff’s house is beautiful because Frau Reiff is not to blame for anything. Or not so far as we know, anyway.
Beyond the front gate there is a spacious interior courtyard. Beyond that you go through the former barn with its hayloft (which can be hired for events, hay and all) and you reach the apple orchard. Among the trees there is an old kayak, there’s a swing for the children of the wind, and the cat is now exploring among the trees.
The dwelling house is on two floors. The rooms are bright and warm, the walls plastered with loam and love, as the saying goes. All the materials were local. Nothing artificial, instead you catch a glimpse of pine cones, pebbles and other natural things that have made their way into the materials, some ideology as well. Visitors like to pass their hands over the walls, and Frau Reiff likes to see that.
Frau Reiff has three children. Three girls or three boys?
A broad staircase leads up to the first floor. The steps are paler and lower in the middle than on the outside; that comes of the weight of time. Halfway up the staircase there’s a circular window looking out on the interior courtyard where Frau Reiff entertains the participants in her raku workshop. Depending on the group dynamic and the air temperature, they sometimes sit out here until late at night, and sometimes someone points at the circular window after noticing movement on the stairs.
Those are the children. They climb up the outside of the steps, because the old wood complains more loudly in the middle. That’s on account of the weight of time. The calm and restless children of the exiles who found shelter here. The strong and restless daughters of the last smith to work here before the war. The thin and restless sons of the Fahrin and Besekow farming families who owned and cultivated their own fields. Before them others; we don’t know about them any more. At night all children are thirsty.
If a guest asks whether Frau Reiff has any children, Frau Reiff says either: yes, three sons, Janek, Karol and Izydor; or: yes, three daughters, Martha, Anna, Elisabeth; or: yes, three sons, Albert, Georg, Lennart. She has become used to it, it makes conversation so much easier, and she doesn’t have to explain what she can’t explain. It’s true, as welclass="underline" in a way they are all Frau Reiff’s children, they live under the same roof. Frau Reiff leaves a glass of water out for them at the foot of the stairs in the evening.
You can deny only what exists.
Frau Reiff’s workshop is in what used to be the servants’ room of the smithy. The smell of clay and smoke clings persistently to everything. The unfinished pottery and the ceramic dust remind most women visitors in their fifties of a film with Patrick Swayze — we can’t remember the title at the moment — in which Swayze and his great love make a vase before she dies. Or after she has died?