Slaughterhouse-Five - Kurt Vonnegut [67]
There were barricades on the main roads leading into the ruins. Germans were stopped there. They were not permitted to explore the moon.
Prisoners of war from many lands came together that morning at such and such a place in Dresden. It had been decreed that here was where the digging for bodies was to begin. So the digging began.
Billy found himself paired as a digger with a Maori, who had been captured at Tobruk. The Maori was chocolate brown. He had whirlpools tattooed on his forehead and his cheeks. Billy and the Maori dug into the inert, unpromising gravel of the moon. The materials were loose, so there were constant little avalanches.
Many holes were dug at once. Nobody knew yet what there was to find. Most holes came to nothing—to pavement, or to boulders so huge they would not move. There was no machinery. Not even horses or mules or oxen could cross the moonscape.
And Billy and the Maori and others helping them with their particular hole came at last to a membrane of timbers laced over rocks which had wedged together to form an accidental dome. They made a hole in the membrane. There was darkness and space under there.
A German soldier with a flashlight went down into the darkness, was gone a long time. When he finally came back, he told a superior on the rim of the hole that there were dozens of bodies down there. They were sitting on benches. They were unmarked.
So it goes.
The superior said that the opening in the membrane should be enlarged, and that a ladder should be put in the hole, so that the bodies could be carried out. Thus began the first corpse mine in Dresden.
There were hundreds of corpse mines operating by and by. They didn’t smell bad at first, were wax museums. But then the bodies rotted and liquefied, and the stink was like roses and mustard gas.
So it goes.
The Maori Billy had worked with died of the dry heaves, after having been ordered to go down in that stink and work. He tore himself to pieces, throwing up and throwing up.
So it goes.
So a new technique was devised. Bodies weren’t brought up any more. They were cremated by soldiers with flamethrowers right where they were. The soldiers stood outside the shelters, simply sent the fire in.
Somewhere in there the poor old high school teacher, Edgar Derby, was caught with a teapot he had taken from the catacombs. He was arrested for plundering. He was tried and shot.
So it goes.
And somewhere in there was springtime. The corpse mines were closed down. The soldiers all left to fight the Russians. In the suburbs, the women and children dug rifle pits. Billy and the rest of his group were locked up in the stable in the suburbs. And then, one morning, they got up to discover that the door was unlocked. World War Two in Europe was over.
Billy and the rest wandered out onto the shady street. The trees were leafing out. There was nothing going on out there, no traffic of any kind. There was only one vehicle, an abandoned wagon drawn by two horses. The wagon was green and coffin-shaped.
Birds were talking.
One bird said to Billy Pilgrim, “Poo-tee-weet?”
Slaughterhouse-Five is a work of fiction. Names, characters, places,
and incidents either are the product of the author’s imagination or are used
fictitiously. Any resemblance to actual persons, living or dead,
events, or locales is entirely coincidental.
Copyright © 1969 by Kurt Vonnegut, Jr.
Copyright renewed 1997 by Kurt Vonnegut, Jr.
Copyright © 2007
Kurt Vonnegut/Origami Express, LLC. www.vonnegut.com
All rights reserved.