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Radiating Near his Common Bile Duct, a Reminder of a Body That is Failing (1938)

Summary:

14 December 1938, Viennese Operetta Gala, Paris, France

The family has fled Nazi-annexed Austria; Robert and Emmerich perform onstage together. Clarisse watches the children, proud of what her dads have accomplished.

Notes:

backdating to finish september before october arrives. i'm still in recovery, but time is ticking 🚲

Robert is 58 (b. August 25, 1880 in Graz, Austria); Emmerich is 56 (b. October 24, 1882 in Siófok, Hungary)

They've been married since 12 May 1902 and have four children (three daughters, a son):
- Clarisse (26, b. 23 January 1912) is a health teacher.
- Charles (9, b. 2 January 1929) plans to be a screenwriter.
- Lilly (7, b. 10 November 1931) loves fashion.
- Yvonne (nineteen months, b. 16 May 1937) is practically a little actress, Emmerich and Clarisse are convinced.

Work Text:

The velvet curtain is a heavy, suffocating weight against their backs, smelling of ancient dust and extinguished wax. Robert can feel the vibration of the applause in the soles of his feet—a thunderous, shaking roar that feels less like praise and more like a warning. Beside him, Emmerich is trembling, not from fear, but from a frantic, kinetic energy that radiates through his silk tuxedo.

 

They step out into the blinding glare of the spotlights. The air in the Paris gala is thick, tasting of expensive champagne and the metallic tang of anxiety. They are ghosts here, refugees of a Vienna that no longer belongs to them, playing music that remembers a world before the borders closed and the sirens began.

 

Robert’s fingers find the keys of the piano, his joints stiff and aching. He is fifty-eight, and his body feels like a clock winding down, every movement a calculated effort against the friction of age. Emmerich stands at the conductor's podium, his baton slicing through the air with a desperate, raw intensity. The music is a diminuendo of their lives—a sweeping, opulent sound that slowly fades into something intimate, fragile, and heartbreakingly quiet.

 

From the wings, twenty-six-year-old Clarisse holds nineteen-month-old Yvonne, who is already mimicking the dramatic gasps of the audience with a wide-eyed, theatrical curiosity. Beside them, young Charles and seven-year-old Lilly lean in, their eyes fixed on the men who taught them that melody is the only language that cannot be censored. Around the fathers' necks, the beaded necklaces Lilly crafted catch the light—tiny, colorful anchors of home in a foreign city.

 

As the final chord resonates, Robert feels a sharp, familiar tug in his abdomen, a phantom pain radiating near his common bile duct, a reminder of a body that is failing as surely as the empire they left behind. He looks at Emmerich, whose gaze is searing, desperate, and profoundly alive. In the silence before the next wave of applause, they are no longer maestros; they are simply two men clinging to each other in the fading light.

 

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