The old building was as tall, but with only four floors, a first floor of faceted sandstone blocks, and above it three floors of brickwork with sandstone arches, balconies, and window surrounds. Several steps led up to the first floor and the stairwell; they were wide at the bottom, narrower above, set between walls topped with iron banisters and curving outwards at street level. The front door was flanked by pillars, and from the corners of the architrave one lion looked up Bahnhofstrasse while another looked down. The entryway through which the woman had led me to the tap in the courtyard was a side entrance.
I had been aware of this building since I was a little boy. It dominated the whole row. I used to think that if it made itself any heavier and wider, the neighboring buildings would have to move aside and make room for it. Inside, I imagined a stairwell with plaster moldings, mirrors, and an oriental runner held down with highly polished brass rods. I assumed that grand people would live in such a grand building. But because the building had darkened with the passing of the years and the smoke of the trains, I imagined that the grand inhabitants would be just as somber, and somehow peculiar--deaf or dumb or hunchbacked or lame.
In later years I dreamed about the building again and again. The dreams were similar, variations on one dream and one theme. I'm walking through a strange town and I see the house. It's one in a row of buildings in a district I don't know. I go on, confused, because the house is familiar but its surroundings are not. Then I realize that I've seen the house before. I'm not picturing Bahnhofstrasse in my hometown, but another city, or another country. For example, in my dream I'm in Rome, see the house, and realize I've seen it already in Bern. This dream recognition comforts me; seeing the house again in different surroundings is no more surprising than encountering an old friend by chance in a strange place. I turn around, walk back to the house, and climb the steps. I want to go in. I turn the door handle.
If I see the house somewhere in the country, the dream is more long-drawn-out, or I remember its details better. I'm driving a car. I see the house on the right and keep going, confused at first only by the fact that such an obviously urban building is standing there in the middle of the countryside. Then I realize that this is not the first time I've seen it, and I'm doubly confused. When I remember where I've seen it before, I turn around and drive back. In the dream, the road is always empty, as I can turn around with my tires squealing and race back. I'm afraid I'll be too late, and I drive faster. Then I see it. It is surrounded by fields, rape or wheat or vines in the Palatinate, lavender in Provence. The landscape is flat, or at most gently rolling. There are no trees. The day is cloudless, the sun is shining, the air shimmers and the road glitters in the heat. The fire walls make the building look unprepossessing and cut off. They could be the firewalls of any building. The house is no darker than it was on Bahnhofstrasse, but the windows are so dusty that you can't see anything inside the rooms, not even the curtains; it looks blind.
I stop on the side of the road and walk over to the entrance. There's nobody about, not a sound to be heard, not even a distant engine, a gust of wind, a bird. The world is dead. I go up the steps and turn the knob.
But I do not open the door. I wake up knowing simply that I took hold of the knob and turned it. Then the whole dream comes back to me, and I know that I've dreamed it before.
I didn't know the woman's name.
Clutching my bunch of flowers, I hesitated in front of the door and all the bells. I would rather have turned around and left, but then a man came out of the building, asked who I was looking for, and directed me to Frau Schmitz on the third floor.
Excerpted from The Reader by Bernhard Schlink. Translation copyright 1997 by Carol Brown Janeway. Copyright 1995 by Diogenes Verlag AG, Zurich. Excerpted by permission of Vintage International, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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