The children look tiny beneath the towering shelves. A few grown-ups send perfunctory IT’S YOUR LIBRARY DAY balloons up into the barrel vault and Ramón says, “They didn’t even get pancakes.”

Jessi Ko says, “What do you think it feels like, to be sick?” and Omicron says, “I hate polynomials, but I do wish Dr. Pori would show up,” and below them the young children hold virtual hands and their bright voices fill the atrium,

We move as one

In everything we do.

It takes everyone together,

Everyone together,

to get to—

and Sybil announces, All non-medical personnel to their compartments, no exceptions, initiating Quarantine Level Two.

Zeno

As the weather warms, Rex takes to gazing at the hills around Camp Five and chewing his lower lip as though contemplating some vision in the distance that Zeno cannot see. And one afternoon Rex waves him closer and, though there is not a soul for fifty feet in any direction, whispers, “What have you noticed, on Fridays, about the petrol drums?”

“They drive the empty ones to Pyongyang.”

“And who loads them?”

“Bristol and Fortier.”

Rex looks at him a moment longer, as though waiting to see how much can be transmitted between them without language.

“Have you ever noticed the two drums behind the kitchen sheds?”

After roll call Zeno examines them as he walks past, dread percolating through his gut. These drums, at one point used to store cooking oil, look identical to the gasoline drums, except that their lids can be removed. Each appears large enough for a man to crawl inside. But even if he and Rex managed to fold their bodies into them, as Rex seems to be suggesting, even if they convinced Bristol and Fortier to seal them inside, hoist them onto the fuel truck, and tuck them among the empty fuel barrels, they’d need to stay inside for who-knows-how-long while the truck drove the notoriously dangerous road to Pyongyang, without headlights, dodging overhead patrols of American bombers. Then—somehow—the two of them, night blind from vitamin deficiency, would need to climb out of the drums undetected and cross miles of mountains and villages in their disgusting clothes and ruined boots with their unshaven faces and nothing to eat.

Later, after dark, a new anxiety comes sliding into place: What if by some miracle they actually succeeded? What if they weren’t killed by guards or villagers or a friendly B-26? If they made it all the way to the American lines? Then Rex would go back to London, to his students and friends, perhaps to another man, someone who has been waiting for him all these months, someone Rex has been too kind to mention, someone infinitely more sophisticated than Zeno, and more deserving of Rex’s affection. Νόστος, nostos: the journey home, the safe return; the song sung around the feast table for the shipwrecked steersman who finally found his way back.

And where would Zeno go? Lakeport. Back to Mrs. Boydstun.

Escapes, he tries to tell Rex, are stories from movies, from some older, more courteous war. Besides, their ordeal is bound to end soon, isn’t it? But seemingly every day, Rex spins up more and more detailed plans, stretching to make his joints more flexible, analyzing guard shift patterns, polishing a tin to make what he calls a “signaling mirror,” speculating about how they might sew bits of food into the linings of their hats, where they might hide during the nightly count, how they might urinate while inside the drum without soaking themselves, whether they should approach Bristol and Fortier now or just hours before they do it. They’ll use code names from Aristophanes’s The Birds; Rex will be Peisetairos, which means Trustyfriend; Zeno will be Euelpides, Goodhope; they’ll shout, Herakles! when the coast is clear. As though it will all be an amusing escapade, a first-class caper.

At night he can feel the activity of Rex’s mind next to him like the glare of a spotlight—he worries the whole camp will see it. And each time Zeno contemplates wedging himself into an oil drum and being loaded onto a truck to be driven to Pyongyang, cords of panic draw tighter around his throat.

* * *

Three Fridays pass, white cranes migrating north over the camp in flocks, then yellow buntings, and Rex only whispers plans, and Zeno exhales. So long as it stays a rehearsal, so long as the rehearsal never turns into performance.

But one Thursday in May, the prisoners’ kitchen full of low, silver light, Rex drifts past Zeno on his way to a re-education session and says, “We’re going. Tonight.”

Zeno scoops some soybeans into his bowl and sits. The thought of eating makes him queasy; he worries the others will hear his pulse thudding in his temples; he feels as if he should not move, as if, by speaking those three words, Rex has turned everything to glass.

Outside, seeds blow everywhere. Within the hour, the big Soviet flatbed truck, its hood pocked with bullet holes, its bed full of fuel drums, rumbles into camp.

By evening it’s raining. Zeno gathers a last load of wood and manages to carry it to the kitchen. On his straw mat he curls up in his wet clothes as the light bleeds out of the day.

Men trickle in; rain rattles on the roof. Rex’s mat stays empty. Could he really be out behind the kitchen sheds? Pale, determined, freckled Rex, folding his emaciated body into a rusted oil drum?

As night fills the barracks, Zeno tells himself to get up. Any minute now, Bristol and Fortier will load the truck. The truck will pull away, the guards will come and do the headcount, and Zeno’s chance will have come and gone. His brain sends messages to his legs but his legs refuse to move. Or maybe it’s his legs sending messages up the chain of command—make me move—and it’s his brain that refuses.

A last few men come in and drop onto their mats and some whisper and some groan and some cough and Zeno sees himself rising, slipping out the door into the night. The time has come, or has already passed; Peisetairos is waiting inside his drum, but where is Euelpides?

Is that the growl of the truck engine starting?

He tells himself that Rex will never go through with it, that he will realize that his plan is unsound, suicidal even, but then Bristol and Fortier return and Rex is not with them. He studies their silhouettes for a clue but can read nothing. The rain lets up and the eaves drip and in the dark Zeno hears men snapping the bodies of lice with their fingernails. He sees Mrs. Boydstun’s ceramic children, their rosy cheeks, their unblinking cobalt eyes, their accusatory red lips. Sheep Shagger, Wop, Swish. Fruit Punch. Zero.

* * *

Around midnight the guards roust them and shine battery-operated lights in everyone’s eyes. They threaten interrogations, torture, death, but without much urgency. Rex does not reappear in the morning or the afternoon or the morning after that and over the next several days Zeno is interrogated five separate times. You are confidants, you are always together, we’ve heard that you two are always scratching code words in the dust. But the guards seem almost bored, as though they are participating in a show for an audience that has not arrived. Zeno waits to hear that Rex has been captured a few miles away, or relocated to another camp; he waits for his efficient little frame to come round a corner, push his glasses up his nose, and smile.

The other prisoners say nothing, at least not around Zeno; it’s as though Rex never existed. Maybe they know Rex is dead and want to spare him the pain or maybe they think Rex is cooperating with propaganda officers and implicating them in lies or maybe they’re too hungry and exhausted to care.