The Secret Messenger

‘Please come to me if you need anything, or you have a problem.’ Cristian De Luca smiles weakly, but even his friendly eyes don’t convince me. I nod again and return his expression, because that’s what I’m supposed to do.

I have time enough to meet some of the other typists over tea before I’m called in through the foreboding door. I grab the pen and notebook on my desk, not knowing whether it’s simply an interview or if I’m expected to begin work immediately. Beyond the door, the walk towards the desk is a long one as the office is vast, with high ceilings and walls crawling with carved plaster figures. My eye is drawn to the overly large picture of the Führer placed over the grand fireplace. His expression in such portraits never ceases to make me laugh inside, as though he’s swallowed too much of my mother’s chilli pasta and is feeling the effects on his digestion. There’s an unmistakable stench of cigar smoke, and the winter sun streaming through the tall windows creates a swirl of dirty white clouds.

‘Fräulein – I beg your pardon – Signorina.’ A voice comes from behind the smoke, and I see his face at last. It’s fat. That’s my first impression. He’s vast. His red, oily skin is stretched tight over wide cheeks, pumped up no doubt by good living and too much grappa, and he sports a meagre moustache, not even worthy of being fashioned into anything like Hitler’s silly little brush. His black eyes sit like minuscule cherries in the pudgy dough of his face; his body a larger version of the same, squeezed with effort into his green Wehrmacht tunic. At first I think he has the face of a fool, but know at the same time it’s never good to underestimate the hatred he and his kind might harbour; hatred for Jews, alongside a disdain for weak Italians who need hand-holding in this war. He hasn’t earned his place behind that desk by not showing strength. Already General Breugal has made a distinct – and deadly – impression on Venice’s opposition to Nazi penetration of our city; last night’s ghetto cull was just one example of his zeal to carry out Hitler’s cleansing of Jews from our city.

Breugal doesn’t get up, but merely extends a hand across the desk and I have to make contact with his moist fingers before I sit down in one of two chairs placed in front of the desk. He looks up from his furious scribble and digs the stub of his cigar in a nearby ashtray.

‘So, I will need a minimum of two typed reports daily, translated from German to Italian,’ he says in clipped German. ‘I take it you are fluent?’

‘Yes, Herr Breugal.’

‘General,’ he corrects briskly.

‘Sorry – General,’ I say. I worry that I’ve marked myself out already but he barely looks at me, so I feel safe his arrogance will lead to a general ignorance about me. And that’s the way I want to keep it.

Once I’m dismissed with a grunt and a wave of the general’s hand, I head back to my desk, clutching the first report I need to translate. Outside the door, I meet the general’s long and lean – and much younger – deputy, Captain Klaus. He introduces himself, but there’s no emotion in his voice – it’s merely duty. There is, however, a steely glint to his blue eyes. I do the best I can to remain businesslike even though I can almost feel the heat of this first report on my chest.

Finally, Captain Klaus feels we have exhausted the formalities and I sit down and open the pages. This is pure gold for the Resistance, information straight from the horse’s mouth which they will use to plan sabotage of German movements, initiate rescues of targeted families, and generally be a thorn in the side of the Nazi regime. Tempting though it is, we can’t use all of the intelligence consistently – my Resistance colleagues have made it clear my position is to be protected, so that I can remain in post without arousing suspicion. To General Breugal, and the slightly odd Cristian De Luca, I am a good Italian girl, a patriot and lover of order, a true believer that fascism will win out over the current chaos. I am to be trusted.

At first glance, the report I am to translate looks to be merely an engineering update on precious water supplies in Venice, pumped in from the mainland. But as I consult my German-Italian dictionary for more specific words, I discover it’s also about rerouting food supplies through new shipping lines, although the word ‘supplies’ doesn’t always appear to refer to scarce flour, sugar or wheat. The report’s complexity means I can’t possibly remember it word for word, despite having a talent for ingesting and harbouring facts. Luckily, the Resistance has prepared for this. They know I can’t risk making a carbon copy of my translation, or writing notes in my own hand, so it’s been agreed with my unit that I’ll type up brief notes I can immediately recall in the office. Operating in plain sight is sometimes the best form of camouflage and I’m suddenly grateful that having a desk backing onto a bookcase is useful for not being overlooked. Or else I will scribble any facts the minute I can make excuses for a toilet break. A sympathetic cobbler has already made adjustments to several pairs of shoes, allowing me to hide folded notes in my heels. I’ll return to my desk, with an expression of indifference and a willingness to carry on the Reich’s work. That’s the plan.

‘Fräulein Jilani, have you settled in?’ The voice is raised above the office noise and takes me by surprise, not least because Cristian De Luca’s German is cut-glass perfect. He sees my surprise.

‘Yes, we speak German in the office – the general prefers it,’ he explains. ‘Do you have everything you need?’

‘Yes, thank you,’ I say, my eyes glancing back to my keyboard. I need to work quickly to complete both the official and unofficial notes, though not so noisily that I attract attention. Sergio, Captain of the Venetian Resistance Central Brigade and my commander, has stressed that I’m to lie low for several days, or even weeks, not be intent on passing information, but this to me looks too important. I feel sure it could really make a difference. I need to get on and this man is loitering.

Still, Cristian De Luca hovers beside my desk. I look up, inquisitive.

‘Erm, I’m just hoping everything was all right with you and the general?’ he ventures. ‘Nothing too … brusque?’

‘No … no,’ I lie, purposely upbeat. ‘He was … direct, but perfectly charming.’

‘Good, well, don’t hesitate to, you know …’ His last words are lost as the general’s voice comes booming from behind me, prompting one of the secretaries to scurry towards the door, almost turning a heel as she goes.

Cristian De Luca walks towards a desk by the window, annoyingly only two away from my own. He puts on a pair of tortoiseshell-rimmed glasses and opens up a file to read. Now I think he looks even more like a librarian.

The efforts of the previous night are beginning to take their toll – my eyes are smarting with tiredness as I pull the cover over my machine at the end of the day, while the office begins to empty. One of the office girls asks if I’d like to join them for a drink but I make an excuse that I’m expected at my parents’ for dinner. The thought of a bowl of Mama’s pasta – exquisite even with increasingly scant ingredients – makes my mouth water, but instead I grab a bread roll from a nearby bakery and head briskly in the opposite direction, wrapping my coat around me as I head towards the canal’s edge. Despite my fatigue, it’s time for the third part of my full and sometimes complicated life.

Waiting at the stop for the vaporetto that will transport me across the expanse of water to the island of Giudecca, I stare at the soaring tower of the church of San Giorgio Maggiore, perched on the adjacent island’s edge. The Palladian monolith looks particularly magnificent tonight, caught in the occasional beam of boat traffic toing and froing across the lagoon. I’m not particularly religious – not as much as Mama would wish anyway – but the tower’s continued existence through centuries of war and strife warms my heart. That warmth is particularly welcome now since the bitter wind is apt to whip through this wide stretch between Venice proper and what’s considered the less ornate, more industrial Giudecca. But that’s what’s so attractive about it tonight, for me at least. The sometimes choppy waters are a divide which helps more than hinders.

The crossing is unhindered by German patrol boats and takes just ten or so minutes; I’m one of only a dozen or so passengers stepping onto the pontoon at Giudecca. The streets are mostly dark with minimal lighting – a consequence of burned-out bulbs not replaced – but I have a mind map of where I’m going. I think I could find it in my sleep, which is a bonus since my eyes are struggling to stay open after so little rest. But I must. This is business and not pleasure. However tired I am, there is more typing to do, though rather than reports to uphold the Nazi occupation, these are my words. Each time I come to Giudecca, I become a different type of translator, one whose fiercely loyal passion for the Resistance is laid on a page for all of Venice to see. It’s one part of my contribution to the partisan cause, defenders of our city. Popsa always said that one day my love of words would mark me out and, each time I step onto Giudecca, I like to think he’s right.

As I round the corner into the tiny, darkened square, a glow pushes out from the ground-floor windows of the café-bar, blinds only half drawn, while the low hum of conversation from behind a heavy wooden door is the sole noise in the empty plaza.

‘Evening Stella,’ says Matteo, the bar’s owner, as I walk in to a general wave of welcome from the ten or so customers. I’m among friends here.

‘Hello everyone,’ I say as chirpily as I can manage. I walk to the back of the bar and into a tiny room, little more than a cupboard, where I replace my coat with a white waitress’s apron around my waist. Instead of heading back out to the bar, though, I knock three times on a door tucked in one corner of the room and turn the handle.

‘It’s Stella,’ I sing in warning as I descend a short set of wooden stairs, towards the dim light below. Arlo looks up from his desk, squinting at me and then back at the paper he’s working on. Poor Arlo – his eyesight is bad enough as it is, without the strain of the faint light and the tiny print he peers at for hours on end. His thick glasses lie discarded on the table as he pulls the page close to his face – his eyesight is a family trait that saved him from an enforced draft into the Italian army, and more than likely prevents the Resistance from allowing him anywhere near a gun, but he’s the best of typesetters. Twice a week, our little band of aspiring paper-producers meets under a cloak on Giudecca to create and construct the weekly Venezia Liberare newspaper. As its name suggests, it’s about spreading the word of liberty and freedom for all Venetians, reclaiming something of our own. And amid the typeset lines of news and local chatter, there is – we think – a manifesto of hope.

Yet Venezia Liberare does not lie side by side on the newsstands with Il Gazzettino and other mainstream papers, those largely controlled by fascist sympathisers. It’s created, printed and collated in this tiniest of spaces, packed and transported under cover of darkness to all corners of Venice, where shopkeepers loyal to the cause will keep a pile of ‘something special’ under their counters, passing over the goods on the quiet, and, with it, the word that we are all still here. Ready and waiting.

‘Hey, Stella, we’ve got eight pages to fill tonight. I hope you’re raring to go,’ Arlo says enthusiastically. My heart sinks for a second and my fatigue rises like a wave but, as I pull up my chair and lift the lid on my typewriter, there’s a rush of energy within me. Just the sight of this machine has that effect on me. It’s much smaller and neater than my industrialsize typewriter in the Reich office, the one with a high slope of keys and tall roller, the shiny metal of grey and black, emulating the SS livery. The shine that my own machine once sported on its black frame is now dimmed and scratched, and some of the bright white keys are grey and smudged with ink, tattooed with my own fingerprints, but it cheers me like a good friend. For years now, since Popsa brought it home on my eighteenth birthday, this small machine has been my workmate, my comrade even. My voice.

We’ve been through quite a lot. In what now seems like an entirely different life as a journalist, I shunned the heavy, brooding office typewriters in favour of my neater, more portable tool. We went on story assignments together, allowing me to type up my notes quickly, settle my thoughts on paper, sometimes sitting on the steps of a nearby church or outside a quiet café, basking in the spring sunshine. I was a junior reporter only, but it was my dream job after high school: slightly frowned on by Mama, secretly tolerated by Papa, and overwhelmingly encouraged by Popsa.

‘This could be your future,’ he’d beamed as I’d opened the carefully wrapped birthday present. ‘You can win battles and change minds with this, Stella – better than any weapon.’ He had insisted on buying an Olivetti machine, the good Italian family firm having solid anti-fascist affiliations, later proven in their wartime actions of creative sabotage which saved many lives.

Of course, being Popsa, he was right. I typed until I drove the entire household to distraction; I created stories, I tapped out memories and wrote fairly terrible poetry. And all those words, channelled from inside me onto the page, via the conduit of my beautiful, clattery Olivetti, helped me towards securing my dream post on Il Gazzettino, the influential daily covering the entire mainland Veneto region surrounding Venice. I was blissfully happy for a time, until its increasingly fascist politics became as dark as the storm clouds of war over Europe.

However, I haven’t got time to dwell on that as I sit in the much less salubrious – but no less important – underground office of our clandestine newspaper. In my hand is a sheaf of hand-scrawled notes on crumpled scraps of paper, some typewritten reports and shorthand transcripts of radio transmissions. Each has made its way from Resistance members in Venice or captains in charge of the mountain fighting groups, via several messengers, to our unassuming basement office. Mothers and grandmothers have sat for hours in their dimly lit kitchens listening to transmissions via Radio Londra – the aptly named BBC service which brings us news of the outside world – scratching down details of the fight beyond Venice. Somehow, in the next three hours, I have to understand and shape these snapshots of defiance into news stories, in time for Arlo and his one regular helper, Tommaso, to typeset and print our weekly edition of Venezia Liberare. It’s our own, tangible way of telling ordinary Italians that they are not alone in the fight against fascism.

Matteo brings me another welcome cup of coffee and I set to work. Not for the first time, I thank providence that my first year on Il Gazzettino was spent converting press statements into readable stories. Back then, I thought it a form of punishment for the new girl, intensely frustrated at not being allowed beyond the office doors to carry out any real reporting. Now I know it was a valuable skill to perfect. As each story is finished, I tear it from the machine, lean backwards in the chair and hand it to Arlo and Tommaso, a young boy not yet out of school whose father is a partisan lieutenant, as they set to work mapping out the pages.

Tommaso is fairly new to our little workroom and, we’ve recently discovered, is something of an artist with a gift for adult cartoons; his dry, sarcastic take on fascist leaders – our pompous beloved Benito Mussolini especially – has worked its way into the pages. In among the serious reports of partisan victories in the mountains, ground captured and trains derailed, we’re able to provide a lighter tone to our readers. After all, it’s our sense of humour as Italians that’s enabled us to survive through twenty years of fascist oppression, and a war to top it off. In the cafés and canteens and campos, you can still hear Venice laugh.

When he first joined us, I could sense Tommaso’s wonder at the barmaid in her apron typing out the stories – the whispered question to his fellow setter – until Arlo explained that my name is on the bar’s list of employees and as such I have to be ready to play my part at a second’s notice, albeit quite badly. Fascist soldiers occasionally make it over to Giudecca in the late hours, looking for trouble, alcohol, or both. Only a month ago. two officers – already half-drunk – demanded drinks along with the employee rota; I just managed to make it up from the basement in time to grab a discarded apron, steering them away from the ‘beer cellar’ with a winning smile and several more drinks. Since then, I’ve donned an apron as a habit.

As the evening wears on I feel myself flagging, and several times Arlo prods me playfully.

‘Come on, girl, anyone would think you’ve done a day’s work!’ he teases.

I see him peering at my copy intently, rubbing his ink-marked fingers on his forehead, and I wonder how many typing mistakes I’ve made out of sheer tiredness. Ones that he will have to correct in the final print.

‘Everything all right, Arlo?’ I say.

‘I’m just wondering when you’re going to replace that old crock of a machine, Stella? This wayward e is driving me crazy.’

Automatically, I put a hand to my beloved machine in defence, taking comfort from its familiar, rough surface. It’s true that being a little too portable has caused one of the metals shafts to shift slightly, making my typed sentences easily recognised with a sagging e. It’s only Arlo’s expertise in re-setting the print that makes sure my machine’s quirk doesn’t transfer to the finished newspaper.

‘At least you can tell it’s written by a master,’ I come back swiftly. And that’s how we combat our fatigue: with innocent banter, to shield against the bad news that occasionally filters through the ranks – having to write of fellow partisans captured or tortured, at times executed. In those moments we force ourselves to think of the bigger picture, of what we can realistically achieve in a tiny basement with almost no resources; we do what we can to inform, to spread the word and help fuel solidarity among fellow Venetians.

I stretch and yawn as I finish the last piece for Arlo to edit and set.

‘Have you enough to fill the pages?’ I say, hoping he does. My eyes can’t seem to focus beyond my nose at this point. Usually, I stay until the setting is complete, but I need to catch the last vaporetto from Giudecca back to the main island and I’ll have to walk home quickly to beat the curfew. More than once I’ve been stopped by a fascist or Nazi patrol, and I’ve all but used up my smiles and excuses of a sickly relative needing medicine.

‘More than enough,’ Arlo says. ‘Your copy gets more lyrical by the day.’

‘Too much? Too flowery?’ I counter anxiously. ‘Should I tone it down?’

‘No, no. I happen to think our readers are inspired by the way you describe even the harshest of events. My mother says she looks forward to your storytelling!’

‘My grandma reads it cover to cover,’ Tommaso cuts in, shyly. ‘She pesters me until I deliver one personally.’

‘I only hope it comes across as fact and not fiction – these things are real,’ I reply. ‘Horribly real.’

‘Don’t worry, you’re not soft-soaping it,’ Arlo reassures. ‘If anything, your descriptions make us feel we’re all living it. Which we are.’