The Kindly Ones

I returned to the Kommando. In the mess, alone, Yakov, Bohr’s little Jew, was playing the piano. I sat down on a bench to listen to him. He was playing Mozart, the andante of one of the sonatas, and it brought a lump to my throat, deepening my sadness even more. When he had finished I asked him: “Yakov, do you know Rameau? Couperin?”—“No, Herr Offizier. What is it?”—“It’s French music. You should learn it. I’ll try to find some scores.”—“Is it beautiful?”—“It might be the most beautiful thing there is.” “More beautiful than Bach?” I considered the question: “Almost as beautiful as Bach,” I acknowledged. This Yakov must have been about twelve years old, and could have played in any concert hall in Europe. He came from the region of Czernowitz and had grown up in a German-speaking family; with the occupation of the Bukovina, in 1940, he’d found himself in the USSR; his father had been deported by the Soviets and his mother had died in one of our air raids. He was truly a handsome boy: a long narrow face, full lips, black hair in untamed tufts, long blue-veined fingers. Everyone here liked him; even Lübbe left him alone. “Herr Offizier?” Yakov asked. He kept his eyes on the piano. “Can I ask you a question?”—“Of course.”—“Is it true that you’re going to kill all the Jews?” I straightened up: “Who told you that?”—“Last night, I heard Herr Bohr talking with the other officers. They were shouting very loudly.”—“They were drinking. You shouldn’t have been listening.” He insisted, his eyes still lowered: “So you’ll kill me, too?”—“Of course not.” My hands were tingling, I forced myself to keep a normal, almost cheerful tone of voice: “Why would we want to kill you?”—“I’m Jewish too.”—“That’s all right, you work for us. You’re a Hiwi now.” He began hitting a key gently, a high note: “The Russians always told us that the Germans were mean. But I don’t think so. I like you.” I didn’t say anything. “Would you like me to play?”—“Play.”—“What would you like me to play?”—“Play whatever you like.”