Mephisto Aria (5 page)

May 12, 1944

We’ve moved again, to yet another evacuation hospital. Chuikov’s army is advancing so rapidly westward that we’re short of plasma again due to distance from the nearest field depot. Some of the men presented with typhoid symptoms and we transferred them to another hospital to avoid contamination. The more wounded we treat, the more Moscow sends in medals to boost morale. Ribbons for dying, ribbons for killing, ribbons for managing to stay alive. All the new officers’ uniforms have gold braid, and with their rows of dangling medals, they look like opera costumes.

June 6, 1944

The English and Americans have landed in Normandy. Troops and materials flow over France. The direction of the war seems irreversible now. It’s all the same to me. I was part of Hitler’s war machine, and now I’m part of Stalin’s.

But the news of the invasion made the commander cheerful today. The minute I arrived, he asked if I liked music. I thought he meant something Russian—a patriotic song or something sentimental with the balalaika. I said yes, and he uncovered a little record player that he had acquired some place. He laid on a disk and it was, of all things, opera arias in Russian. I hadn’t heard opera in over a year, and so it was almost blissful to tend to his hands while familiar arias played in the background. From Boris Godunov, Rusalka, Onegin, Mazepa. Then, halfway through the disk, the music wrenched me away from that peace. Though it was sung in Russian, I recognized the words ego gorjachie laski, “burning caresses.” It was the Berlioz “D’amour l’ardente flamme,” and it pierced my heart like a blade. I remembered the hand that caressed me and then was mangled. A hand that now most certainly is withered and dead.

The commander had his eyes shut, caught up in the music while I rubbed cream on his hands. “Music is a blessing to the soul,” he said with Russian pathos.

“A curse, too,” I mumbled, though I don’t think he heard me.

July 23, 1944

Chuikov’s troops have liberated Majdanek in Lublin, though it looks like it was evacuated some time ago. The only prisoners left behind are Russians, defectors from the Red Army. They were half starved, but I doubt things will get better for them in the camps the Soviets will transfer them to. There are also a lot of Polish peasants and Byelorussians, partisan fighters and their families. Some of them, the ones who are still somewhat fit, have joined the Russian forces to drive the Germans out of Lublin.

They tell us that the fields all around are strewn with ashes from the crematorium. Fields covered now with cabbages. The men are reporting the piles of shoes, thousands of shoes. No one knows why.

Katherina knew why. With the advantage of nearly forty years of hindsight, she knew of the industry that supplied prison goods and prison labor. A whole economy built on forced labor and the recycling of prisoners’ possessions. Majdanek, she had read in school, was in part a factory that took the shoes of the dead and repaired them for use in Germany.

She also knew what had to come in the following diary entries, since the Red Army was advancing through Poland. She held the yellowing paper of the journal in her fingertips for a moment, and then, bracing herself, she turned to the next entry.

She was right. The terrible word burned on the page.

Auschwitz.

January 29, 1945

I have met evil and it has my face.

Two days ago the Russian 60th Army liberated Auschwitz. I was here at the medic station in Cracow, and some of us were assigned to go back there to make a medical report.

Not much to see at first. It consists of three camps spread over wide areas. The usual wire fences and barracks. A few hundred survivors standing around. No exact count yet, but there are about 6000 or 7000 prisoners still there—Poles, Gypsies, Jews. Frail, some too weak to stand. We examined a few dozen of them, took pictures, brought in bread and kasha. They had already organized a kitchen. I talked to them in German.

The SS had evacuated all the other prisoners westward. In fact, we saw some corpses along the road about ten kilometers before the camp, shot, I suppose, when they couldn’t keep going. Otherwise, it was a camp like all others.

Then one of the freed prisoners must have heard me speaking German because he approached me. “Come with me,” he said, with no explanation, and I followed him. He led me across a wide field to a two-story warehouse. “We call it Canada. ’Cause it’s the land of plenty.”

I had to get used to the dim light inside the great hall but then I saw what he meant. Luggage. The room was filled with thousands of suitcases, satchels, bags, some of them spilling out contents, but most still unpacked. “The last arrivals,” he said. “SS didn’t have time to process the luggage. But upstairs is the stuff from the trains before.” He led me up a flight of stairs to the second story of the warehouse. The rooms were filled with articles sorted by category. Porcelain, household items in one room, men’s clothing in another. Farther down the corridor he led me to rooms containing women’s dresses, shoes, children’s outfits, infant clothing.

“The Germans brought infants to this camp?” I asked.

He didn’t answer and just led me through a doorway to a second hall and more tables. On one row of them lay framed pictures, writing materials, books. On another, walking sticks, crutches. A corner table was heaped high with eyeglasses. Thousands of eyeglasses.

“You’ll love this,” he said, and guided me toward a room at the end of the corridor. Unlike the others, it was locked, but he carried a key. Just inside the door was a covered wooden box, which he opened dramatically. Inside were lumps of gold. I examined one and then dropped it, my stomach heaving. A gold tooth. The box was filled with gold teeth, caps, and fillings, which had been pried out of people’s mouths. Kilos of them.

Next to the box, sacks of hair. Soft brown hair from young women, crisp gray hair from the old ones. Harvested hair.

“Is that it, then?” I asked him. I wanted more than anything to get out of there.

“No,” he said calmly. “Just one more thing.”

He led me outside and down a long path to a red brick building. It smelled of charcoal or soot or something I couldn’t name.

“The SS dismantled and blew up a lot of things before they left, but you can still see some of it,” he said, going in. The remains of two brick chambers stood on one side of the room behind a small hill of rubble. “The crematorium,” he announced unemotionally, and added, “The inmates died in lots of ways—some of them fast, others slow—but here is where they mostly ended.”

The smell and the thought of what had gone on there was unbearable, so I fled. He followed me, not letting me escape. “Oh, but it wasn’t all bad.” His tone was suddenly sarcastic. “During all that…” He tilted his head toward the crematorium door. “We had classical music. Inmate orchestras, a couple of them. They played concerts when the transports arrived, when the labor details marched out, when the unlucky ones went to the gas chambers. Cheered things right up! So very German, don’t you think?”

He looked me in the eye for the first time, I suppose because we had been speaking German and he wondered about me.

“I have to go now.” I offered my hand but he wouldn’t take it. “I’m not one of them,” I said, half lying.

“We’re all ‘one of them,’” he answered coldly. “I’m a Kapo. Do you think I could have stayed alive here for three years if I hadn’t helped them?” Then he added, “But I’m a Pole, and you look too much like the SS man on the railway platform. The one who took my children.” He walked away.

I’ve known since Stalingrad that there’s no god, only the devil, and he’s tainted me. Apparently, you can even see it in my face.

February 14, 1945

The British and Americans have firebombed Dresden. City of refugees and a treasure house of Baroque architecture. No military reason, no strategic advantage. Simple revenge—tenfold. Clever how they do it. They just keep bombing until the whole city catches fire and everything in it cooks. A hundred thousand people? Two hundred thousand? All civilians, refugees. Roasted.

It seems the Allies cremate people as well, though it’s while they’re still alive.

Appalled, Katherina let the journal fall onto her lap and stared at the closed volume as if it held demons. She had learned about the concentration camps in school, but had always remained detached from the subject. It did not occur to her that they could touch her own family. But her father had been there—thank god, on the side of the liberators—and had stood on the blood- and guilt-soaked ground. She had a new respect for him now, though the entry told her nothing about the personal guilt he carried with him. Clearly there were more revelations to come.

She was equally horrified that the music of Bach and Mozart was used to lure the innocent into the camp or to render them docile for slavery or execution. She winced, imagining the sad concerts. Music was all she had, and it sickened her to think it had become a tool of monsters. She had the final rehearsal of Carmina Burana tomorrow, but how could she care about it in the face of what she now knew?

Unable to sit another moment, she got up from the sofa. She needed air. Her coat hung just inside the back door and she threw it on before stumbling into the garden. The ground was still snow-covered, but the path from the door was swept, so she walked a bit, to have movement and cold air on her face. Overhead the midnight sky was clear and stars were everywhere. Brilliant, guiltless stars. She envied them their innocence.

In a spontaneous movement, she scooped up snow from the top of a hedge and rubbed it over her face. The shock of it was cathartic, and she felt briefly cleansed by the chill. The journal was of the past, after all, and she was in the present. The music that she sang was innocent, like the stars. Now she could go back into the house and sleep.

VII
Lusingando

Dulchiiissime! Katherina held the high note until the conductor’s signal. Then she let her voice tumble through the delicious melisma to totam tibi sub do me, and the chorus followed with the warm swell of “Ave Formosissima.” She thrilled at the ecstatic conclusion of Carmina Burana, the pumping heartbeat of the final chorus and the ever-repeating “bodoomp BOOM” of the timpani. It was a wild dance, the very essence of pagan erotic passion that mocked the monastic origin of its text.

The final fortissimo section crashed to an end and the orchestra fell silent. The conductor waved the chorus and dancers off the stage, dismissing them until the Friday performance. Only the soloists had to do another run-through. Katherina was slightly annoyed; she would miss the early train back to Berlin.

Ulrich seemed disappointed too and his eyes followed Sabine as she strode in long graceful steps into the wings. He acquitted himself well in his song, though he was obviously bored. Dieter forced his voice one more time into the falsetto lines of his swan aria. Finally it was her turn and she focused her full attention on “Stedit puella in rosa tunica.” She loved the delicate sensuality of the words. “The girl stood in a red dress, and when she moved, the tunic rustled.” She sang the passage without looking at the score, directly at the conductor, and ended the long “Eiiiah” on pianissimo.

Von Hausen was obviously satisfied. “Good work. All of you. Bring it with you on Friday and we’ll have a hit.”

Relieved, Katherina followed the other soloists back to the dressing rooms.

Her room was small and sparse, but afforded privacy since, as the only female soloist, she had it all to herself. She would use it on performance night to change into her concert gown. The wide cushioned bench at one end was an amenity she had not expected to need. Today, however, when she had an hour to kill before catching the late train, it was welcome and she dropped onto it gratefully.

The chorus had left and so had the dancers, and Ulrich’s dismay was apparent when he stuck his head through the dressing room doorway and said good-bye. He had obviously not gotten very far with Sabine the night before and could not fathom why. Katherina did not intend to inform him.

Staring blankly at her score, she let the images of the flirtation drift again through her imagination. She had been brooding the entire day on it, for it had exposed a part of her that she had always carefully guarded. Without a current boyfriend, even the shallow kind like the ones she’d had at university, she felt unprotected.

Well, that was over now and she could let it pass from her mind. She tried to study her notes, but fatigue and the warmth of the room made her drowsy. She slouched against the wall and allowed herself to doze.

Katherina dreamt she was at the table in the Café zum Engel again, but not only the Carmina Burana singers and dancers sat there with her. Directly across the table was her father. Sitting shoulder to shoulder with him was Anastasia Ivanova, as on the record jacket. And similar to the photograph of Faust and Marguerite, her father seemed penitent, terrified, while next to him, Anastasia smiled. The rest of the group at the table seemed oblivious to them and to the woman next to Katherina, who began to caress her breast. Katherina dared not move, for fear of drawing attention to herself, so she allowed the caress, growing both more aroused and more frightened. Her father glanced first at her, then past her to someone who stood behind her. She wanted to turn around, but something held her in place. She could only ask, “Is that Florian?’

She awoke, abruptly, to some sound.

Sabine stood just inside the dressing room. “I see you waited after all. I’m glad.”

Katherina tried to clear her sleep-addled brain. “What? No, I wasn’t waiting for anything. I mean, my train leaves in an hour and I don’t want to sit in the station.”