Authors: Gunter Grass
THIRD MORNING SHIFT
Every child between Hildesheim and Sarstedt knows what is mined in Brauksel's mine, situated between Hildesheim and Sarstedt.
Every child knows why the Hundred and Twentieth Infantry Regiment had to abandon in Bohnsack the steel helmet Amsel is wearing, as well as other steel helmets, a stock of fatigue uniforms, and several field kitchens, when it pulled out by train in '20.
The cat is back again. Every child knows that it's not the same cat, but the mice don't know and the gulls don't know. The cat is wet wet wet. Now something drifts by that is neither a dog nor a sheep. It's a clothes cupboard. The cupboard does not collide with the ferry. And as Amsel pulls a beanpole out of the mud and Walter Matern's fist begins to quiver around the knife, a cat finds freedom: it drifts out toward the open sea that reaches as far as the sky. The gulls grow fewer, the mice in the dike scamper, the Vistula flows, the fist around the knife quivers, the wind's name is Northwest, the dikes taper away, the open sea resists the river with everything it's got, still and for evermore the sun goes down, still and for evermore the ferry and two freight cars move closer: the ferry does not capsize, the dikes do not burst, the mice are not afraid, the sun has no intention of turning back, the Vistula has no intention of turning back, the ferry has no intention of turning back, the cat has no, the gulls have no, nor the clouds nor the infantry regiment, Senta has no intention of going back to the wolves, but merrily merrily. . . And Walter Matern has no intention of letting the pocketknife given him by Amsel short fat round return to his pocket; on the contrary, his fist around the knife manages to turn a shade chalkier. And up above teeth grind from left to right. While it flows approaches sinks drifts whirls rises and falls, the fist relaxes around the knife, so that all the expelled blood rushes back into the now loosely closed hand: Walter Matern thrusts the fist holding the now thoroughly warmed object behind him, stands on one leg, foot, ball of foot, on five toes in a high shoe, lifts his weight sockless in the shoe, lets his entire weight slip into the hand behind him, takes no aim, almost stops grinding; and in that flowing drifting setting lost moment -- for even Brauchsel cannot save it, because he has forgotten, forgotten something -- while Amsel looks up from the mud at the foot of the dike, with his left hand and a portion of his two thousand freckles pushes his steel helmet back, revealing another portion of his two thousand freckles, Walter Matern's hand is way out in front, empty and light, and discloses only the pressure marks of a pocketknife that had three blades, a corkscrew, a saw, and a leather punch; in the handle of which sea sand, powdered tree bark, a bit of jam, pine needles, and a vestige of mole's blood had become incrusted; whose barter value would have been a new bicycle bell; which no one had stolen, which Amsel had bought in his mother's shop with money he himself had earned, and then given his friend Walter Matern; which last summer had pinned a butterfly to Folchert's barn door, which under the dock of Kriwe's ferry had in one day speared four rats, had almost speared a rabbit in the dunes, and two weeks ago had pegged a mole before Senta could catch it. The inner surface of the hand still shows pressure marks made by the self same knife, with which Walter Matern and Eduard Amsel, when they were eight years old and intent on blood brotherhood, had scored their arms, because Kornelius Kabrun, who had been in German Southwest Africa and knew about Hottentots, had told them how it was done.
FOURTH MORNING SHIFT
Meanwhile -- for while Brauxel lays bare the past of a pocket-knife and the same knife, turned missile, follows a trajectory determined by propulsive force, gravitation, and wind resistance, there is still time enough, from morning shift to morning shift, to write off a working day and meanwhile to say -- meanwhile, then, Amsel with the back of his hand had pushed back his steel helmet. With one glance he swept the dike embankment, with the same glance took in the thrower, then sent his glance in pursuit of the thrown object; and the pocketknife, Brauxel maintains, has meanwhile reached the ultimate point allotted to every upward-striving object, while the Vistula flows, the cat drifts, the gull screams, the ferry approaches, while the bitch Senta is black, and the sun never ceases to set.
Meanwhile -- for when a missile has reached that infinitesimal point after which descent begins, it hesitates for a moment, and pretends to stand still -- while then the pocket-knife stands still at its zenith, Amsel tears his gaze away from the object that has reached this infinitesimal point and once more -- the object is already falling quickly fitfully, because now more exposed to the head wind, riverward -- has his eye on his friend Matern who is still teetering on the ball of his foot and his toes sockless in high shoe, holding his right hand high and far from his body, while his left arm steers and tries to keep him in balance.
Meanwhile -- for while Walter Matern teeters on one leg, concerned with his balance, while Vistula and cat, mice and ferry, dog and sun, while the pocketknife falls riverward, the morning shift has been lowered into Brauchsel's mine, the night shift has been raised and has ridden away on bicycles, the changehouse attendant has locked the change-house, the sparrows in every gutter have begun the day. . . At this point Amsel succeeded, with a brief glance and a directly ensuing cry, in throwing Walter Matern off his precarious balance. The boy on the top of the Nickelswalde dike did not fall, but he began to stagger and stumble so furiously that he lost sight of his pocketknife before it touched the flowing Vistula and became invisible.
"Hey, Grinder!" Amsel cries. "Is that all you can do? Grind your teeth and throw things?"
Walter Matern, here addressed as Grinder, is again standing stiff-kneed with parted legs, rubbing the palm of his left hand, which still bears the glowing negative imprint of a pocketknife.
"You saw me. I had to throw. What's the use of asking questions?"
"But you didn't throw no
zellack."
"How could I when there ain't no
zellacks
up here?"
"So what do you throw when you ain't got no
zellack?"
"Well, if I'd had a
zellack
I'd of thrown the
zellack."
"If you'd sent Senta, she'd of brought you a
zellack."
"If I'd sent Senta. Anybody can say that. You try and send a dog anyplace when she's chasing mice."
"So what did you throw if you didn't have no
zellack?"
"Why do you keep asking questions? I threw some dingbat. You saw me."
"You threw my knife."
"It was my knife. Don't be an Indian giver. If I'd had a
zellack,
I wouldn't of thrown the knife, I'd of thrown the
zellack."
"Whyn't you tell me? Couldn't you tell me you couldn't find a
zellack,
I'd have tossed you one, there's plenty of them down here."
"What's the good talking so much when it's gone?"
"Maybe I'll get a new knife for Ascension."
"I don't want no new knife."
"If I gave you one, you'd take it."
"You want to bet I wouldn't?"
"You want to bet you would?"
"Is it a bet?"
"It's a bet."
They shake hands on it: tin soldiers against magnifying glass. Amsel reaches his hand with its many freckles up the dike, Walter Matern reaches his hand with the pressure marks left by the pocketknife down the dike and with the handshake pulls Amsel up on the dike top.
Amsel is still friendly. "You're exactly like your grandma in the mill. All she does is grind the coupla teeth she's still got the whole time. Except she don't throw things. Only hits people with her spoon."
Amsel on the dike is a little shorter than Walter Matern. As he speaks, his thumb points over his shoulder to the spot where behind the dike lies the village of Nickelswalde and the Materns' postmill. Up the side of the dike Amsel pulls a bundle of roof laths, beanpoles, and wrung-out rags. He keeps having to push up the front rim of his steel helmet with the back of his hand. The ferry has tied up at the Nickelswalde dock. The two freight cars can be heard. Senta grows larger, smaller, larger, approaches black. More small farm animals drift by. Broad-shouldered flows the Vistula. Walter Matern wraps his right hand in the lower frayed edge of his sweater. Senta stands on four legs between the two of them. Her tongue hangs out to leftward and twitches. She keeps looking at Walter Matern, because his teeth. He has that from his grandmother who was riveted to her chair for nine years and only her eyeballs.
Now they have taken off: one taller, one smaller on the dike top against the ferry landing. The dog black. Half a pace ahead: Amsel. Half a pace behind: Walter Matern. He is dragging Amsel's rags. Behind the bundle, as the three grow smaller on the dike, the grass gradually straightens up again.
FIFTH MORNING SHIFT
And so Brauksel, as planned, sits bent over his paper and, while the other chroniclers bend likewise and punctually over the past and begin recording, has let the Vistula flow. It still amuses him to recall every detail: Many many years ago, when the child had been born but was not yet able to grind his teeth because like all babies he had been born toothless, Grandma Matern was sitting riveted to her chair in the overhang room, unable as she had been for the last nine years to move anything except her eyeballs, capable only of bubbling and drooling.
The overhang room jutted out over the kitchen, it had one window looking out on the kitchen, from which the maids could be observed at work, and another window in back, facing the Matern windmill, which sat there on its jack, with its tailpole pivoting on its post and was accordingly a genuine postmill; as it had been for a hundred years. The Materns had built it in 1815, shortly after the city and fortress of Danzig had been taken by the victorious Russian and Prussian armies; for August Matern, the grandfather of our grandmother sitting there riveted to her chair, had managed, during the long-drawn-out and listlessly conducted siege, to carry on a lucrative trade with both sides; on the one hand, he began in the spring to supply scaling ladders in exchange for good convention talers; on the other hand, he arranged, in return for Laubtalers and even more substantial Brabant currency, to smuggle little notes in to General Count d'Heudelet, calling his attention to the odd conduct of the Russians who were having quantities of ladders made, though it was only spring and the apples were in no shape to be picked.
When at length the governor, Count Rapp, signed the capitulation of the fortress, August Matern in out-of-the-way Nickelswalde counted the Danish specie and two-thirds pieces, the quickly rising rubles, the Hamburg mark pieces, the Laubtalers and convention talers, the little bags of Dutch gulden and the newly issued Danzig paper money; he found himself nicely off and abandoned himself to the joys of reconstruction: he had the old mill, where the fugitive Queen Louise is said to have spent the night after the defeat of Prussia, the historical mill whose sails had been damaged first on the occasion of the Danish attack from the sea, then of the night skirmish resulting from a sortie on the part of Capitaine de Chambure and his volunteer corps, torn down except for the jack which was still in good condition, and on the old jack built the new mill which was still sitting there with its pole on its jack when Grandmother Matern was reduced to sitting riveted and motionless in her chair. At this point Brauxel wishes, before it is too late, to concede that with his money, some hard, some easy-earned, August Matern not only built the new postmill, but also endowed the little chapel in Steegen, which numbered a few Catholics, with a Madonna, who, though not wanting in gold leaf, neither attracted any pilgrimages worth mentioning nor performed any miracles.
The Catholicism of the Matern family, as one might expect of a family of millers, was dependent on the wind, and since there was always a profitable breeze on the Island, the Matern mill ran year in year out, deterring them from the excessive churchgoing that would have antagonized the Mennonites. Only baptisms and funerals, marriages and the more important holidays sent part of the family to Steegen; and once a year on Corpus Christi, when the Catholics of Steegen put on a procession through the countryside, the mill, with its jack and all its dowels, with its mill post, its oak lever, and its meal bin, but most of all with its sails, came in for its share of blessing and holy water; a luxury which the Materns could never have afforded in such rough-Mennonite villages as Junkeracker and Pasewark. The Mennonites of Nickelswalde, who all raised wheat on rich Island soil and were dependent on the Catholic mill, proved to be the more refined type of Mennonites, in other words, they had buttons, buttonholes, and normal pockets that it was possible to put something into. Only Simon Beister, fisherman and small holder, was a genuine hook-and-eye Mennonite, rough and pocketless; over his boatshed hung a painted wooden sign with the ornate inscription:
Wear hooks and eyes,
Dear Jesus will save you.
Wear buttons and pockets,
The Devil will have you.
But Simon Beister was and remained the only inhabitant of Nickelswalde to have his wheat milled in Pasewark and not in the Catholic mill. Even so, it was not necessarily he who in '13, shortly before the outbreak of the Great War, incited a degenerate farmhand to haul kindling of all sorts to the Matern postmill and set it on fire. The flames were already creeping under jack and pole when Perkun, the young shepherd dog belonging to Pawel the miller's man, whom everyone called Paulchen, began, black and with tail straight back, to describe narrowing circles around hummock, jack, and mill, and brought miller's man and miller running out of the house with his staccato barks.