the buildingâs intercom. âBut they give me strange looks at school and they call me names.â
The boy daubs poo over the button next to âI and H Madsen.â
âSo weâll just have to smear shit on all the buttons.â
We move on to the next stairwell. The boy smears poo on the intercom. Carries on until all the buttons are pale brown.
We fail to find more dog poo when we walk around the corner; we look, but thereâs none in sight. The boy pulls down his trousers and squats in an archway.
While he strains and groans, he says: âWe canât give up now. What if we havenât got the right buttons covered in shit yet? Think about all the poor people whoâll get shit on their fingers for no reason. That wouldnât be fair, now would it?â
Every day the boy waits for me in the courtyard.
âI can count on you,â he says, when I come downstairs. I donât like that so I start to dawdle; I draw and I look at the clock.
And yet heâs always there when I come down.
We play Squeeze the Rabbit, a game where I jump up in the air and he has to try to remove his hands before I land. Other days we play Bear with No Eyes, where I put a plastic bag over his head.
M y dad holds up a carton of milk to me; weâre in the dairy section of the supermarket.
â Möchtest du milch ?â he asks, and I know that if I want to drink milk in the next few days, Iâd better get it right. â Möchtest du milch ?â
Find the right words, find the right answer.
He cups a hand behind his ears: â Entschuldigen, ich habe dich nicht gehört .â
When weâve paid at the till, he says â Danke schön â to the cashier.
At night he kisses me on the forehead, tucks me up.
â Schlaf gut, Liebchen .â
My dadâs waiting for me at the breakfast table. He has been to the bakerâs for croissants.
â Bonjour, mon fils ,â he says. He pours a little coffee into my cup and tops it up with milk.
My dad says you learn best when youâre standing up. Even better when youâre running. And best of all, if someoneâs after you. Then he laughs.
We visit museums.
âItâs easy to sneak in,â my dad says. âThere are lots of ways you can do it: you can join a group of visitors, you can look for a discarded ticket on the sidewalk outside. But itâs always better not to.â
My dad goes up to the attendant at the entrance; if itâs a woman, heâll stand there for a little longer with her hand in his. If itâs a man, the handshake is short and firm. My dadâs voice gets louder when he talks to men; when they laugh together, itâs even louder. Sometimes heâll touch their shoulder. Then we get in. Always without paying.
We walk down a white corridor leading to the first floor, where the paintings are.
âI know it looks as if theyâre doing us a favour,â my dad says. âThe nice people who let us in. No matter where we go, people help us.â
I nod to show him that Iâm listening. Weâre standing in front of a painting of a fisherman beside a boat that has been dragged ashore; the sky behind him is grey.
âBut weâre also doing them a favour. Take that man . . .â My dad nods back in the direction of the attendant who has just let us in, an elderly man with grey hair and a full beard, his uniform a little creased. âHe has been standing there all day, he tears tickets, he tells tourists that they canât bring ice cream inside, that photography isnât allowed.â
My dad always looks at me in this way right before he tells me the important part. The part I must remember.
âThat man rarely gets the chance to do something for others. Do something without getting paid, just because he can and because he wants to.â
In my head I try to repeat what my dad has just said.
He points to the picture of the fisherman in