HHhH

by Laurent Binet

TO BEGIN WITH, this seemed a simple-enough story to tell. Two men have to kill a third man. They succeed, or not, and that’s the end, or nearly. I thought of all the other people as mere ghosts who would glide elegantly across the tapestry of history. Ghosts have to be looked after, and that requires great care – I knew that. On the other hand, what I didn’t know (but should have guessed) is that a ghost desires only one thing: to live again. Personally, I’d like nothing better, but I am constrained by the needs of my story. I can’t keep leaving space for this ever-growing army of shadows, these ghosts who – perhaps to avenge themselves for the meagre care I show them – are haunting me.

THIS IS WHAT I think: inventing a character in order to understand historical facts is like fabricating evidence. Or rather, in the words of my brother-in-law, with whom I’ve discussed all this: It’s like planting false proof at a crime scene where the floor is already strewn with incriminating evidence.

More than the pleasure of delivering a scoop, I think Heydrich enjoyed verbalizing the incredible, the unthinkable, as if to give substance to the unimaginable truth. This is what I’ve got to tell you – you already know it, but it’s up to me to tell you, and it’s up to us to do it. The orator, dizzy from speaking the unspeakable. The monster, drunk on the thought of the monstrosities he heralds.

Prudently, night flees the scene. The first glimmers of dawn have already begun to lighten the sky because summer time has not yet been invented and Prague – though slightly farther west than, say, Vienna – is sufficiently eastern for these cold, clear mornings to come while the city is still sleeping.

Scapegoats at all costs – that could be the Reich’s motto.