As for Anna, everything gives her the creeps.

No matter. These four depraved young characters contrast sharply with the cheerful people out on the town, looking for a fun night out and generally not finding it because this isn't the city for it. Of course fresh vitality is normally the hallmark of youth. But not of these four. And if youngsters deliberately reject freshness there is nothing to be done about it. These four are not looking for fun any more because they have already had theirs. Presently, so as not to be conspicuous, they stop running and change to an ostentatiously innocuous saunter. Rainer takes Sophie's arm. Sophie is trying to tidy her hair-do, using the dark window panes to their left and right. She gives the impression of being the most unmoved of the four, which is in fact the case, and indeed she always looks as though she were wearing white gloves. A man finds this provocative and tempting, but it never affords him any satisfaction. That is why you have to think up assaults like this. Because you don't get any satisfaction from Sophie. But there are a lot of other reasons as well. For instance: Rainer inclines to be the brain of the gang, Hans the hands, Sophie tends to be a kind of voyeuse, and Anna is angry at the whole of mankind, which is bad, since it clouds the vision and makes it difficult to get at anything. True, Anna finds it hard to get at the beautiful things you see around anyway, because you need money to buy them. Anna does not know that you cannot buy inner worth. The unfortunate drawback with inner worth is that it is hidden away where no one can see it. Anna wants things that are visible on the outside too, but she won't admit as much. People should not be beaten up for reasons of hatred but for no reason at all, it should be an end in itself, admonishes her brother Rainer. All that counts is beating them up, whether I hate them or not (Anna). You haven't understood a single thing, Rainer tells her in a superior tone.

Shit (Hans). What he means by this vulgar expression is that he has torn his shirt. There'll be hell to pay with the old woman again. We'll find some dark hallway and divvy up in a minute, says Anna, then you can buy a new one tomorrow.

Rainer hates his parents but is afraid of them too. They were his progenitors and now they provide his keep, while he keeps himself occupied with poetry. Fear is a component of hatred (thus Anna, who could write a doctoral thesis on the subject of hate), if one feared nothing there would be no point in hatred, and all that would remain would be empty indifference. It'd be better to be dead. Philistines are unacquainted with hatred of this kind. If we had no powerful feelings we'd be mere objects, or we'd be dead, which we will be soon enough in any case. I love most forms of art.

I hate nothing, says Sophie, because there is nothing in my life that's worth hating. But the one and only feeling you do have is your love of me, says Rainer. If both of us jab our fingers into a victim's eyes, the bond between us is firmer than marriage could ever be. We're against marriage.

I've got to go now, says Sophie, who always has to be going somewhere or other.

You can't leave me alone now because I need someone now to explain everything to, says Rainer. You've got two others anyway, says Sophie, unmoved by this outburst, you can explain it all to them. I have to go home now. What about your share? You can give it to me in school tomorrow. Hans is already reaching his claws out towards the money, a thread of saliva at the corner of his mouth discreetly suggesting greed. To which Rainer responds: Take it easy.

You look real good when you're beating someone up, Anna tells the young worker ingratiatingly, and strokes the muscles of his upper arms. His mother would never stroke his upper arms like that. It wouldn't occur to her to stroke his arms at all. There is a certain suggestiveness about Anna's stroking which makes the gesture mean more than it seems to.

I think you're great (Anna to Hans). Bye (Hans to Rainer and Anna). See you tomorrow.

With the tension ebbing away, the twins walk home to the eighth district, where many petits bourgeois live, mostly white-collar workers and pensioners. These two are themselves as much a part of the lower middle class as the core is a part of an apple, and they feel at home in it. This is their home, and they climb the stairs of the gloomy tenement building, without touching anything (to avoid being contaminated by the squalor). Soon they have reached the summit: that is to say, the fourth floor. They have arrived. And as their unfriendly home appears before them, so too does weariness, and reluctantly it opens the door to the tension, because that tension still has a thing or two planned for today, things it can't use the brother and sister for. The two re-enter their everyday life and lock the door behind them.

THERE IT IS. The apartment. And there are the parents too. A uniform tranquillity prevails before and after the assaults. Imperceptibly the children have slipped out of the child's role into the role of an adult with responsibilities. Neither of them fulfils those responsibilities.

All around the shabby old apartment tower the innumerable substandard dwellings of the old imperial city tower. Ugly and unprepossessing people, many of them old as well, slink about in these blocks, carrying chamber pots and pitchers to the toilets and water pipes in the corridors and back again. This produces a constant to-and-fro without any productive side to it.

From time to time a genius will flourish in their midst. The soil that nourishes this genius will frequently be filth, and madness will mark the bounds. The genius will want to escape the filth at all costs, but will not always succeed in eluding the madness. The Witkowskis have no notion that their oppressive fug has already brought forth a genius: Rainer. He has already got clear as far as his hips of his native mire and is now trying to haul one leg free and establish a tentative footing, though in the process he repeatedly sinks back in again, like a rhinoceros stuck in the mud. He saw that once on TV in The Living Desert. The head where the unlovely worm of his literary talent has taken up residence is up in the air, at any rate, gazing across a sea of fusty old underpants, battered furniture, tattered newspapers, dog-eared books, piled-up detergent boxes, dishcloths with coffee grounds with a growth of mould, dishcloth with coffee grounds without the mould, tea-cups with some unidentifiable encrustation, breadcrumbs, pencil stubs, grubby eraser rubbings, filled-in crossword puzzles and sweaty socks, gazing involuntarily across into the realm of Art, the one realm that is wide open to you as long as you have a little luck.

Today, though, Rainer and Anna are at school, the grammar school which unfortunately they have to go to every day till they take their school-leaving exams.

Herr Witkowski returned from the War with one leg, but erect. In the War he was more of a man than now, that is to say, he was intact, two-legged, and in the SS. Nowadays he is as firm about his hobby as he was then about his choice of profession. There are no bounds to his hobby, which is art photography. His one-time enemies got away through the chimneys and crematoria of Auschwitz and Treblinka or littered Slavic earth. Nowadays Rainer's father crosses the petty frontiers of today's Germany anew whenever he takes his artistic photographs. Only a philistine recognises those frontiers in his private life. In photography, the bounds are fixed by clothing. And Witkowski senior bursts the narrow confines of clothing and morality. Mother knew right away who her son was taking after in his artistic leanings: Father. Father had the eye of the amateur artist. Get undressed, Margarethe, we'll take a nude picture or two! There you go again, get undressed, it always occurs to you when I'm busy doing the cleaning. Who's the breadwinner in this family anyway, demands Herr Witkowski, who draws an invalidity pension and works as a night porter. With this disability, all I have left is my hobby, porn photography. As far as mature people are concerned there is no such thing as pornography. Pornography is for people who need to be led and influenced. And even if my children won't follow me into hobbyland, at least you will, Gretl. Now get on with it, pronto, my camera's waiting to do its duty.