My struggle book 1

Karl Ove Knausgaard (2009)

  • PART 1:
    • For the heart, life is simple: it beats for as long as it can. Then it stops. Sooner or later, one day, this pounding action will cease of its own accord, and the blood will begin to run toward the body’s lowest point, where it will collect in a small pool, visible from outside as a dark, soft patch on ever whitening skin, as the temperature sinks, the limbs stiffen and the intestines drain. These changes in the first hours occur so slowly and take place with such inexorability that there is something almost ritualistic about them, as though life capitulates according to specific rules, a kind of gentleman’s agreement to which the representatives of death also adhere, inasmuch as they always wait until life has retreated before they launch their invasion of the new landscape. By which point, however, the invasion is irrevocable. The enormous hordes of bacteria that begin to infiltrate the body’s innards cannot be halted. Had they but tried a few hours earlier, they would have met with immediate resistance; however everything around them is quiet now, as they delve deeper and deeper into the moist darkness. They advance on the Havers Channels, the Crypts of Lieberkühn, the Isles of Langerhans. They proceed to Bowman’s Capsule in the Renes, Clark’s Column in the Spinalis, the black substance in the Mesencephalon. And they arrive at the heart. As yet, it is intact, but deprived of the activity to which end its whole construction has been designed, there is something strangely desolate about it, like a production plant that workers have been forced to flee in haste, or so it appears, the stationary vehicles shining yellow against the darkness of the forest, the huts deserted, a line of fully loaded cable-buckets stretching up the hillside. The moment life departs the body, it belongs to death. At one with lamps, suitcases, carpets, door handles, windows. Fields, marshes, streams, mountains, clouds, the sky. None of these is alien to us. We are constantly surrounded by objects and phenomena from the realm of death. Nonetheless, there are few things that arouse in us greater distaste than to a see a human being caught up in it, at least if we are to judge by the efforts we make to keep corpses out of sight. In larger hospitals they are not only hidden away in discrete, inaccessible rooms, even the pathways there are concealed, with their own elevators and basement corridors, and should you stumble upon one of them, the dead bodies being wheeled by are always covered. When they have to be transported from the hospital it is through a dedicated exit, into vehicles with tinted glass; in the church grounds there is a separate, windowless room for them; during the funeral ceremony they lie in closed coffins until they are lowered into the earth or cremated in the oven. It is hard to imagine what practical purpose this procedure might serve. The uncovered bodies could be wheeled along the hospital corridors, for example, and thence be transported in an ordinary taxi without this posing a particular risk to anyone. The elderly man who dies during a cinema performance might just as well remain in his seat until the film is over, and during the next two for that matter. The teacher who has a heart attack in the school playground does not necessarily have to be driven away immediately; no damage is done by leaving him where he is until the caretaker has time to attend to him, even though that might not be until sometime in the late afternoon or evening. What difference would it make if a bird were to alight on him and take a peck? Would what awaits him in the grave be any better just because it is hidden? As long as the dead are not in the way there is no need for any rush, they cannot die a second time. Cold snaps in the winter should be particularly propitious in such circumstances. The homeless who freeze to death on benches and in doorways, the suicidal who jump off high buildings and bridges, elderly women who fall down staircases, traffic victims trapped in wrecked cars, the young man who, in a drunken stupor, falls into the lake after a night on the town, the small girl who ends up under the wheel of a bus, why all this haste to remove them from the public eye? Decency? What could be more decent than to allow the girl’s mother and father to see her an hour or two later, lying in the snow at the site of the accident, in full view, her crushed head and the rest of her body, her blood-spattered hair and the spotless padded jacket? Visible to the whole world, no secrets, the way she was. But even this one hour in the snow is unthinkable. A town that does not keep its dead out of sight, that leaves people where they died, on highways and byways, in parks and parking lots, is not a town but a hell. The fact that this hell reflects our life experience in a more realistic and essentially truer way is of no consequence. We know this is how it is, but we do not want to face it. Hence the collective act of repression symbolized by the concealment of our dead. What exactly it is that is being repressed, however, is not so easy to say. It cannot be death itself, for its presence in society is much too prominent. The number of deaths reported in newspapers or shown on the TV news every day varies slightly according to circumstances, but the annual average will presumably tend to be constant, and since it is spread over so many channels virtually impossible to avoid. Yet that kind of death does not seem threatening. Quite the contrary, it is something we are drawn to and will happily pay to see. Add the enormously high body count in fiction and it becomes even harder to understand the system that keeps death out of sight. If the phenomenon of death does not frighten us, why then this distaste for dead bodies? It must mean either that there are two kinds of death or that there is a disparity between our conception of death and death as it actually turns out to be, which in effect boils down to the same thing. What is significant here is that our conception of death is so strongly rooted in our consciousness that we are not only shaken when we see that reality deviates from it, but we also try to conceal this with all the means at our disposal. Not as a result of some form of conscious deliberation, as has been the case with funeral rites, the form and meaning of which are negotiable nowadays, and thus have shifted from the sphere of the irrational to the rational, from the collective to the individual – no, the way we remove bodies has never been the subject of debate, it has always been just something we have done, out of a necessity for which no one can state a reason but everyone feels: if your father dies on the lawn one windswept Sunday in autumn, you carry him indoors if you can, and if you can’t, you at least cover him with a blanket. This impulse, however, is not the only one we have with regard to the dead. No less conspicuous than our hiding the corpses is the fact that we always lower them to ground level as fast as possible. A hospital that transports its bodies upward, that sites its cold chambers on the upper floors is practically inconceivable. The dead are stored as close to the ground as possible. And the same principle applies to the agencies that attend them; an insurance company may well have its offices on the eighth floor, but not a funeral parlor. All funeral parlors have their offices as close to street level as possible. Why this should be so is hard to say; one might be tempted to believe that it was based on some ancient convention that originally had a practical purpose, such as a cellar being cold and therefore best suited to storing corpses, and that this principle had been retained in our era of refrigerators and cold-storage rooms, had it not been for the notion that transporting bodies upward in buildings seems contrary to the laws of nature, as though height and death are mutually incompatible. As though we possessed some kind of chthonic instinct, something deep within us that urges us to move death down to the earth whence we came.
    • I feel a rush of happiness because he actually cares, while still feeling vaguely offended that he can underestimate me in this way.
    • While my days were jam-packed with meaning, when each step opened a new opportunity, and when every opportunity filled me to the brim, in a way which now is actually incomprehensible, the meaning of his days was not concentrated in individual events but spread over such large areas that it was not possible to comprehend them in anything other than abstract terms
    • he was not an expert at anything, apart from maybe pedagogy, but he knew a bit about everything
    • philately
    • conversant
    • As your perspective of the world increases not only is the pain it inflicts on you less but also its meaning. Understanding the world requires you to take a certain distance from it. Things that are too small to see with the naked eye, such as molecules and atoms, we magnify. Things that are too large, such as cloud formations, river deltas, constellations, we reduce. At length we bring it within the scope of our senses and we stabilize it with fixer. When it has been fixed we call it knowledge. Throughout our childhood and teenage years, we strive to attain the correct distance to objects and phenomena. We read, we learn, we experience, we make adjustments. Then one day we reach the point where all the necessary distances have been set, all the necessary systems have been put in place. That is when time begins to pick up speed. It no longer meets any obstacles, everything is set, time races through our lives, the days pass by in a flash and before we know what is happening we are forty, fifty, sixty . . . Meaning requires content, content requires time, time requires resistance. Knowledge is distance, knowledge is stasis and the enemy of meaning. My picture of my father on that evening in 1976 is, in other words, twofold: on the one hand I see him as I saw him at that time, through the eyes of an eight-year-old: unpredictable and frightening; on the other hand, I see him as a peer through whose life time is blowing and unremittingly sweeping large chunks of meaning along with it.
    • meterology of the mind
    • So, what frightened me most was when he turned up without warning...when for some reason I had been inattentive...
    • The needs of the moment always trumped promises of the future, however enticing the latter. But Yngve did manage it. He was a past master at economizing.
    • What has engraved itself in my face?
    • This is not a loss, at any rate not for me, I don’t get anything out of socializing anyway. I never say what I really think, what I really mean, but always more or less agree with whomever I am talking to at the time, pretend that what they say is of interest to me, except when I am drinking, in which case more often than not I go too far the other way, and wake up to the fear of having overstepped the mark.
    • The only thing that does not age in the face is the eyes.
    • But of the future we shared, which was actually just an extension of the present with its daily routinesand meals with friends and acquaintances, holiday trips, and visits to parents and in-laws, all enriched by the dream of having children, there was to be nothing.
    • The yearning is as strong there as it is here, but the difference is that there the goal of my yearning is attainable, but not here.
    • I have always had a great need for solitude. I require huge swathes of loneliness and when I do not have it, which has been the case for the last five years, my frustration can sometimes become almost panicked, or aggressive. And when what has kept me going for the whole of my adult life, the ambition to write something exceptional one day, is threatened in this way my one thought, which gnaws at me like a rat, is that I have to escape.
    • Perhaps even, at certain moments, joy. And isn’t that enough? Isn’t it enough? Yes, if joy had been the goal it would have been enough. But joy is not my goal, never has been, what good is joy to me? The family is not my goal either. If it had been, and I could have devoted all my energy to it, we would have had a fantastic time, of that I am sure.
    • Where this ideal has come from I have no idea, and as I now see it before me, in black and white, it almost seems perverse: why duty before happiness? The question of happiness is banal, but the question that follows is not, the question of meaning. When I look at a beautiful painting I have tears in my eyes, but not when I look at my children. That does not mean I do not love them, because I do, with all my heart, it simply means that the meaning they produce is not sufficient to fulfill a whole life. Not mine at any rate. Soon I will be forty, and when I’m forty, it won’t be long before I’m fifty. And when I’m fifty, it won’t be long before I’m sixty. And when I’m sixty, it won’t be long before I’m seventy. And that will be that. My epitaph might read: Here lies a man who grinned and bore it. And in the end he perished for it.
    • Wielded pen and dick but never well
    • ignominy
    • All erect dicks are bent. Or, if not all, then at least enough of them to be eulogized in a poem.
    • she exuded distance, except when she smiled
    • Even though I had been playing regularly and tenaciously for a year and a half, I had made very little progress. I knew all the chords and had practiced all the scales ad infinitum, but I never managed to free myself from them, never managed to play, there was no rapport between my mind and my fingers, my fingers didn’t seem to belong to me, but to the scales, which they could play with ease, and what then emerged from the amplifier had nothing to do with music.
    • obstinacy
    • I lived for this. The quick glances, the tiny smiles, the light touches. And oh, her laghter! When I made her laugh!
    • Who cares about politics when there are flames licking at your insides? Who care about politics if you are burning with desire for life? With desire for the living? Not me at any rate.
    • That night I couldn’t sit still, I walked around the flat, to and fro in my room, up and down the stairs, in and out of the downstairs rooms. I felt as if I were bigger than the world, as if I had everything inside me, and that now there was nothing left to strive for. Humanity was small, history was small, the Earth was small, yes, even the universe, which they said was endless, was small. I was bigger than everything. It was a fantastic feeling, but it left me restless because the most important thing in it was the longing, for what was going to be, not for what I did or had done. How to burn up all that was inside me now?
    • If you are sixteen years old all of this makes an impression, all of this leaves its mark, for this is the first spring you know is spring, with all your senses you know this is spring, and it is the last, for all coming springs pale in comparison with your first. If, moreover, you are in love, well, then . . . then it is merely a question of holding on. Holding onto all the happiness, all the beauty, all the future that resides in everything.
    • I thought of Hanne. It was as if she had a place inside me. As if she existed as a real location where I would always be. That I could go there whenever I wanted felt an act of mercy.
    • indelible
  • PART 2:
    • You know too little and it doesn’t exist. You know too much and it doesn’t exist. Writing is drawing the essence of what we know out of the shadows. That is what writing is about. Not what happens there, not what actions are played out there, but the there itself. There, that is writing’s location and aim. But how to get there?
    • For several years I had tried to write about my father, but had gotten nowhere, probably because the subject was too close to my life, and thus not so easy to force into another form, which of course is a prerequisite for literature. That is its sole law: everything has to submit to form. If any of literature’s other elements are stronger than form, such as style, plot, theme, if any of these overtake form, the result suffers. That is why writers with a strong style often write bad books. That is also why writers with strong themes so often write bad books. Strong themes and styles have to be broken down before literature can come into being. It is this breaking down that is called “writing.” Writing is more about destroying than creating. No one knew that better than Rimbaud. The remarkable thing about him was not that he arrived at this insight at such a disturbingly young age but that he applied it to life as well. For Rimbaud everything was about freedom, in writing as in life, and it was because freedom was paramount that he could put writing behind him, or perhaps even had to put writing behind him, because it too became a curb on him that had to be destroyed. Freedom is destruction plus movement. Another writer to realize this was Aksel Sandemose. His tragedy was that he was only able to perform the latter part in literature, not in life. He destroyed, and never moved on from what he had destroyed. Rimbaud went to Africa.
    • She had been in such a cheery mood when she rang. A pang of unhappiness went through me. How could I possibly have met her anxiety and hope with annoyance?
    • since true laughter and true desire are incompatible
    • That was my only parameter with art, the feelings it aroused. The feeling of inexhaustibility. The feeling of beauty. The feeling of presence. All compressed into such acute moments that sometimes they could be difficult to endure. And quite inexplicable.
    • I had studied history of art and was used to describing and analyzing art. But what I never wrote about, and this is all that matters, was the experience of it. Not just because I couldn’t, but also because the feelings the pictures evoked in me went against everything I had learned about what art was and what it was for. So I kept it to myself. I wandered around the Nationalgalleri in Stockholm or the Nasjonalgalleri in Oslo or the National Gallery in London and looked. There was a kind of freedom about this. I didn’t need to justify my feelings, there was no one to whom I had to answer and no case to answer. Freedom, but not peace, for even though the pictures were supposed to be idylls, such as Claude’s archaic landscapes, I was always unsettled when I left them because what they possessed, the core of their being, was inexhaustibility and what that wrought in me was a kind of desire. I can’t explain it any better than that. A desire to be inside the inexhaustibility. That is how I felt this night as well. I sat leafing through the Constable book for almost an hour. I kept flicking back to the picture of the greenish clouds, every time it called forth the same emotions in me. It was as if two different forms of reflection rose and fell in my consciousness, one with its thoughts and reasoning, the other with its feelings and impressions, which, even though they were juxtaposed, excluded each other’s insights. It was a fantastic picture, it filled me with all the feelings that fantastic pictures do, but when I had to explain why, what constituted the “fantastic,” I was at a loss to do so. The picture made my insides tremble, but for what? The picture filled me with longing, but for what? There were plenty of clouds around. There were plenty of colors around. There were enough particular historical moments. There were also plenty of combinations of all three. Contemporary art, in other words, the art which in principle ought to be of relevance to me, did not consider the feelings a work of art generated as valuable. Feelings were of inferior value, or perhaps even an undesirable by-product, a kind of waste product, or at best, malleable material, open to manipulation. Naturalistic depictions of reality had no value either, but were viewed as naïve and a stage of development that had been superseded long ago. There was not much meaning left in that. But the moment I focused my gaze on the painting again all my reasoning vanished in the surge of energy and beauty that arose in me. Yes, yes, yes, I heard. That’s where it is. That’s where I have to go. But what was it I had said yes to? Where was it I had to go?
    • It had started as a student ideal, grounded in a notion that in some way night was associated with freedom. Not in itself but as a response to the nine-to-four reality which I, and a couple of others, regarded as middle-class and conformist. We wanted to be free, we stayed up at night. Continuing with this had less to do with freedom than a growing need to be alone. This, I understood now, I shared with my father. In the house where we lived he had a whole studio apartment to himself and he spent more or less every evening there. The night was his.
    • What was I going to do in the office at half past four in the morning? Write? Do today what I had not succeded in doing for the last five years?
    • This wasn’t about knowledge but about the aura knowledge exuded, the places it came from, which were almost all outside the world we lived in now, yet were still within the ambivalent space where all historical objects and ideas reside. In recent years the feeling that the world was small and that I grasped everything in it had grown stronger and stronger in me, despite my common sense telling me that actually the reverse was true: the world was boundless and unfathomable, the number of events infinite, the present time an open door that stood flapping in the wind of history. But that is not how it felt. It felt as if the world were known, fully explored and charted, that it could no longer move in unpredicted directions, that nothing new or surprising could happen. I understood myself, I understood my surroundings, I understood society around me, and if any phenomenon should appear mysterious I knew how to deal with it. Understanding must not be confused with knowledge for I knew next to nothing – but should there be, for example, skirmishes in the borderlands of an ex-Soviet republic somewhere in Asia, whose towns I had never heard of, with inhabitants alien in everything from dress and language to everyday life and religion, and it turned out that this conflict had deep historical roots that went back to events that took place a thousand years ago, my total ignorance and lack of knowledge would not prevent me from understanding what happened, for the mind has the capacity to deal with the most alien of thoughts. This applied to everything. If I saw an insect I hadn’t come across, I knew that someone must have seen it before and categorized it. If I saw a shiny object in the sky I knew that it was either a rare meteorological phenomenon or a plane of some kind, perhaps a weather balloon, and if it was important it would be in the newspaper the following day. If I had forgotten something that happened in my childhood it was probably due to repression; if I became really furious about something it was probably due to projection, and the fact that I always tried to please people I met had something to do with my father and my relationship with him. There is no one who does not understand their own world. Someone who understands very little, a child, for example, simply moves in a more restricted world than someone who understands a lot. However, an insight into the limits of understanding has always been part of understanding a lot: the recognition that the world outside, all those things we don’t understand, not only exists but is also always greater than the world inside. From time to time I thought that what had happened, at least to me, was that the children’s world, where everything was known, and where with regard to the things that were not known, you leaned on others, those who had knowledge and ability, that this children’s world had never actually ceased to exist, it had just expanded over all these years. When I, as a nineteen-year-old, was confronted with the contention that the world is linguistically structured I rejected it with what I called sound common sense, for it was obviously meaningless, the pen I held, was that supposed to be language? The window gleaming in the sun? The yard beneath me with students crossing it dressed in their autumn clothes? The lecturer’s ears, his hands? The faint smell of earth and leaves on the clothes of the woman who had just come in the door and was now sitting next to me? The sound of pneumatic drills used by the road workers who had set up their tent on the other side of St. Johannes’ Church, the regular drone of the transformer? The rumble from the town below – was that supposed to be a linguistic rumble? My cough, is it a linguistic cough? No, that was a ridiculous idea. The world was the world, which I touched and leaned on, breathed and spat in, ate and drank, bled, and vomited. It was only many years later that I began to view this differently. In a book I read about art and anatomy Nietzsche was quoted as saying that “physics too is an interpretation of the world and an arrangement of the world, and not an explanation of the world,” and that “we have measured the value of the world with categories that refer to a purely fabricated world.” A fabricated world? Yes, the world as a superstructure, the world as a spirit, weightless and abstract, of the same material with which thoughts are woven, and through which therefore they can move unhindered. A world that after three hundred years of natural science is left without mysteries. Everything is explained, everything is understood, everything lies within humanity’s horizons of comprehension, from the biggest, the universe, whose oldest observable light, the farthest boundary of the cosmos, dates from its birth fifteen billion years ago, to the smallest, the protons and neutrons and mesons of the atom. Even the phenomena that kill us we know about and understand, such as the bacteria and viruses that invade our bodies, attack our cells, and cause them to grow or die. For a long time it was only nature and its laws that were made abstract and transparent in this way, but now, in our iconoclastic times, this not only applies to nature’s laws but also to its places and people. The whole of the physical world has been elevated to this sphere, everything has been incorporated into the immense imaginary realm from South American rain forests and the islands of the Pacific Ocean to the North African deserts and Eastern Europe’s tired, gray towns. Our minds are flooded with images of places we have never been, yet still know, people we have never met, yet still know and in accordance with which we, to a considerable extent, live our lives. The feeling this gives that the world is small, tightly enclosed around itself, without openings to anywhere else, is almost incestuous, and although I knew this to be deeply untrue, since actually we know nothing about anything, still I could not escape it. The longing I always felt, which some days was so great it could hardly be controlled, had its source here. It was partly to relieve this feeling that I wrote, I wanted to open the world by writing, for myself, at the same time this is also what made me fail. The feeling that the future does not exist, that it is only more of the same, means that all utopias are meaningless. Literature has always been related to utopia, so when the utopia loses meaning, so does literature. What I was trying to do, and perhaps what all writers try to do – what on earth do I know? – was to combat fiction with fiction. What I ought to do was affirm what existed, affirm the state of things as they are, in other words, revel in the world outside instead of searching for a way out, for in that way I would undoubtedly have a better life, but I couldn’t do it, I couldn’t, something had congealed inside me, a conviction was rooted inside me, and although it was essentialist, that is, outmoded and, furthermore, romantic, I could not get past it, for the simple reason that it had not only been thought but also experienced, in these sudden states of clearsightedness that everyone must know, where for a few seconds you catch sight of another world from the one you were in only a moment earlier, where the world seems to step forward and show itself for a brief glimpse before reverting and leaving everything as before . . .
    • In the modernist era the division between art and the world was close to absolute, or put another way, art was a world of its own. What was taken up in this world was of course a question of individual taste, and soon this taste became the very core of art, which thus could and, to a certain degree in order to survive, had to admit objects from the real world. The situation we have arrived at now whereby the props of art no longer have any significance, all the emphasis is placed on what the art expresses, in other words, not what it is but what it thinks, what ideas it carries, such that the last remnants of objectivity, the final remnants of something outside the human world have been abandoned. Art has come to be an unmade bed, a couple of photocopiers in a room, a motorbike in an attic. And art has come to be a spectator of itself, the way it reacts, what newspapers write about it; the artist is a performer. That is how it is. Art does not know a beyond, science does not know a beyond, religion does not know a beyond, not anymore. Our world is enclosed around itself, enclosed around us, and there is no way out of it. Those in this situation who call for more intellectual depth, more spirituality, have understood nothing, for the problem is that the intellect has taken over everything. Everything has become intellect, even our bodies, they aren’t bodies anymore, but ideas of bodies, something that is situated in our own heaven of images and conceptions within us and above us, where an increasingly large part of our lives is lived. The limits of that which cannot speak to us – the unfathomable – no longer exist. We understand everything, and we do so because we have turned everything into ourselves. Nowadays, as one might expect, all those who have occupied themselves with the neutral, the negative, the nonhuman in art, have turned to language, that is where the incomprehensible and the otherness have been sought, as if they were to be found on the margins of human expression, on the fringes of what we understand, and of course, actually, that is logical: where else would it be found in a world that no longer acknowledges that there is a beyond? It is in this light we have to see the strangely ambiguous role death has assumed. On the one hand, it is all around us, we are inundated by news of deaths, pictures of dead people; for death, in that respect, there are no limits, it is massive, ubiquitous, inexhaustible. But this is death as an idea, death without a body, death as thought and image, death as an intellectual concept. This death is the same as the word “death,” the bodiless entity referred to when a dead person’s name is used. For while the person is alive the name refers to the body, to where it resides, to what it does; the name becomes detached from the body when it dies and remains with the living, who, when they use the name, always mean the person he was, never the person he is now, a body which lies rotting somewhere. This aspect of death, that which belongs to the body and is concrete, physical and material, this death is hidden with such great care that it borders on a frenzy, and it works, just listen to how people who have been involuntary witnesses to fatal accidents or murders tend to express themselves. They always say the same, it was absolutely unreal, even though what they mean is the opposite. It was so real. But we no longer live in that reality. For us everything has been turned on its head, for us the real is unreal, the unreal real. And death, death is the last great beyond. That is why it has to be kept hidden. Because death might be beyond the term and beyond life, but it is not beyond the world.
    • We're a married couple, I thought, we are husband and wife, my wife is standing outside the house, waving me off, I thought, and smiled. So where did this image's unreal surface come from? Were we playing husband and wife, weren't we really a couple?
    • Why should you live in a world without feeling its weight? Were we just images? And what were we actually saving energy for with these energy-saving devices?
    • lachrymose
    • you have a kind of receptivity to those with whom you have grown up and to whom you have been close during the period when your personality is being shaped or asserting itself, you receive them directly, without thought as a filter
    • Not even the worst grief leaves traces; when it feels so overwhelming and lasts for such a long time, it is not because the feelings have set, they can't do that, they stand still, the way water in a forest mere stands still.
    • I sipped the coffee and lit a cigarette. I can’t say that I enjoyed the taste of the coffee or the feeling of smoke descending into my lungs, I could barely distinguish the two, the point was to do it, it was a routine, and as with all routines, protocol was everything.
    • Not all rituals involve ceremonies, not all rituals are rigidly demarcated, there are those that take shape in the midst of everyday life, and are recognizable by the weight and charge they give the otherwise normal event.
    • When Freddie Mercury died, the revelation that shocked was not the fact that he way gay but that he was an Indian.
    • When I got married at the age of twenty-five it was because I wanted a middle-class, stable, settled existence. That side of me, of course, was counteracted by the fact that we didn’t live that kind of life, the middle-class, stable, routine-anchored lifestyle, quite the opposite, and the fact that no one married so young anymore, and therefore it was, if not radical, then at least original. This being my thinking, and also because I loved her, I had fallen on bended knee one evening, alone on the terrace outside Maputo in Mozambique, beneath a coal-black sky, with the air full of the sound of chirruping grasshoppers and distant drums from one of the villages a few kilometers away, and asked her if she would marry me. She said something I didn’t understand. It certainly wasn’t yes. What did you say? I queried. Are you asking me to marry you? she said. Are you really? Is that what you’re asking? Yes, I said. Yes, she said. I want to marry you. We embraced, both of us with tears in our eyes, and right at that moment the sky rumbled, a deep, powerful clap of thunder, it rippled and Tonje shivered, and then the torrents fell. We laughed, Tonje ran inside for her camera, and when she came out she put one arm around me and took a photo with the other hand outstretched. We were two children.
    • "Have you two seen the seagull?" I said. "Film or play?" Yngve said.
    • My stomach contracted, the tears that flowed seemed to have erupted and my grimaces, which I was unable to control, were light years from any vomiting reflex, and this sensation of disequilibrium and asymmetry overwhelmed me and created panic, it was as if I were being torn apart. If I had been able to, I would have fallen to my knees, clasped my hands and cried to God, shouted, but I couldn’t, there was no mercy in this, the worst had already happened, it was over.
    • Oh, they were trivial, but had my life consisted of anything else?
    • And after wandering around town for a whole Sunday or lying in bed at home reading, the temptation to drop by in the evening, even if I told myself I shouldn’t, that I had to make my own life, was too great for me to resist, so often I wound up on the sofa in front of his television.
    • couldn't write any longer, and all that was left of my writing career was the desire
    • But when I was twenty-four I saw life as it was. And it was okay, I had my small pleasures too, it wasn’t that, and I could endure any amount of loneliness and humiliation, I was a bottomless pit, just bring it on, there were days when I could think, I receive, I am a well, I am the well of the failed, the wretched, the pitiful, the pathetic, the embarrassing, the cheerless, and the ignominious. Come on! Piss on me! Shit on me too if you want! I receive! I endure! I am endurance itself! I have never been in any doubt that this is what girls I have tried my luck with have seen in my eyes. Too much desire, too little hope.
    • Now this wasn’t really anything to beat the drums with in an exam or during a discussion, but that wasn’t what I, the king of approximation, was after. I was after enrichment. And what enriched me while reading Adorno, for example, lay not in what I read but in the perception of myself while I was reading. I was someone who read Adorno! And in this heavy, intricate, detailed, precise language whose aim was to elevate thought ever higher, and where every period was set like a mountaineer’s cleat, there was something else, this particular approach to the mood of reality, the shadow of these sentences that could evoke in me a vague desire to use the language with this particular mood on something real, on something living. Not on an argument, but on a lynx, for example, or on a blackbird or a cement mixer. For it was not the case that language cloaked reality in its moods, but vice versa, reality arose from them. I didn’t articulate that for myself, it didn’t exist as in thought, barely even as inklings, more as a kind of hazy lure. I kept this entire side of me hidden from Yngve, first of all because he wasn’t interested, and didn’t believe in it either, he had taken Media Studies, and was in full agreement with the tenet of his subject that objective quality did not exist, that all judgments were relative, and that of course what was popular was just as good as what was not popular, but soon this difference, and whatever I held back, was charged with much more for me, it began to be about us as people, about the distance between Yngve and me actually being large, and I didn’t want that, I didn’t want that for anything in the world, and I systematically played it down. If I suffered a defeat, if I failed at something, if I had misunderstood something vital, I never hesitated to tell him, for anything that could drag me down in his eyes was good, while on those occasions I achieved something of significance, I often opted not to tell him.
    • I'll have to remember this for the rest of my life, but by the time we were in the car on our way home along the Hardanger fjord I had forgotten.
    • for even though my questions might have been foolish his answers would not have been
    • She answered at once, as though she had been sitting by the phone, waiting. I knew all the cadences of her voice, and they were what I was listening to now, not to what she was saying. First the warmth and the sympathy and the longing, then her voice seemed to contract into something small, as if it wanted to snuggle up to me. My own was filled with distance. She came closer to me, and I needed that, but I didn’t go closer to her, I could not.
    • A whole world lay between the trademarks of then and now, and as I thought about them, their sounds and tastes and smells reappeared, utterly irresistible, as indeed everything you have lost, everything that has gone, always does. The smell of short, freshly watered grass when you are sitting on a soccer field one summer afternoon after training, the long shadows of motionless trees, the screams and laughter of children swimming in the lake on the other side of the road, the sharp yet sweet taste of the energy drink XL-1. Or the taste of salt that inevitably gets into your mouth when you dive into the sea, even if you pinch your lips as your head sinks below the surface, the chaos of currents and rushing water beneath, but also the light playing on the seaweed and the sea grass and the bare rock face, clusters of mussels and fields of barnacles that all seem to radiate a still, gentle glow, for it is a cloudless midsummer day, and the sun is burning down through the high, blue sky and sea. The water streaming off your body as you haul yourself up using hollows in the rock face, the drops left on your shoulder blades for a few seconds until the heat has burned them off, the water in your trunks still dripping long after you have wrapped a towel around yourself. The speedboat skimming over the waves, stuttering and disharmonious, the bow thrust upward, the buffeting of the waves that is heard through the roar of the engine, the unreality of it, since the surroundings are too vast and open for the boat’s presence to leave an impression. All of this still existed. The smooth, flat rocks were exactly the same, the sea pounded down on them in the same way, and also the landscape under the water, with its small valleys and bays and steep chasms and slopes, strewn with starfish and sea urchins, crabs and fish, was the same. You could still buy Slazenger tennis rackets, Tretorn balls, and Rossignol skis, Tyrolia bindings and Koflach boots. The houses where we lived were still standing, all of them. The sole difference, which is the difference between a child’s reality and an adult’s, was that they were no longer laden with meaning. A pair of Le Coq soccer boots was just a pair of soccer boots. If I felt anything when I held a pair in my hands now it was only a hangover from my childhood, nothing else, nothing in itself. The same with the sea, the same with the rocks, the same with the taste of salt that could fill your summer days to saturation, now it was just salt, end of story. The world was the same, yet it wasn’t, for its meaning had been displaced, and was still being displaced, approaching closer and closer to meaninglessness.
    • peregrinations
    • Tonje’s mother was a fantastic cook; meals in her house were an experience, if you were the foodie type. I wasn’t, I didn’t give a rat’s ass about food, I was just as happy to eat fish fingers as baked halibut, sausages as fillet of Beef Wellington, but Tonje was, her eyes lit up when she started talking about food, and she was a talented cook, she enjoyed working in the kitchen; even if it was only pizza she was making, she put her heart and soul into it. She was the most sensuous person I had ever met. And she had moved in with someone who regarded meals, home comforts, and closeness as necessary evils.
    • A lot had happened in her family, as in all families, but this was not something they talked about, so if it was manifest anywhere, it was in each of them, and the atmospheres they created collectively. One of the things Tonje liked best about me, I suspected, was that I was so fascinated by precisely that, by all the contexts and potential of various relationships, she wasn’t used to that, she never speculated along those lines, so when I opened her eyes to what I saw she was always interested. I had this from my mother, right from the time I went to school I used to carry on long conversations with her about people we had met or known, what they had said, why they might have said it, where they came from, who their parents were, what kind of house they lived in, all woven into questions to do with politics, ethics, morality, psychology, and philosophy, and this conversation, which continued to this day, had given my gaze a direction, I always saw what happened between people and tried to explain it, and for a long time I also believed I was good at reading others, but I was not, wherever I turned I only saw myself, but perhaps that was not what our conversations were about primarily, there was something else, they were about Mom and me, that was how we became close to each other, in language and reflection, that was where we were connected, and that was also where I sought a connection with Tonje. And it was good because she needed it in the same way that I needed her robust sensuousness.
    • I set off with a sigh. Above me the entire sky had opened. What a few hours earlier had been plain, dense cloud cover now took on landscapelike formations, a chasm with long flat stretches, steep walls, and sudden pinnacles, in some places white and substantial like snow, in others gray and as hard as rock, while the huge surfaces illuminated by the sunset did not shine or gleam or have a reddish glow, as they could, rather they seemed as if they had been dipped in some liquid. They hung over the town, muted red, dark-pink, surrounded by every conceivable nuance of gray. The setting was wild and beautiful. Actually everyone should be in the streets, I thought, cars should be stopping, doors should be opened and drivers and passengers emerging with heads raised and eyes sparkling with curiosity and a craving for beauty, for what was it that was going on above our heads? However, a few glances at most were cast upward, perhaps followed by isolated comments about how beautiful the evening was, for sights like this were not exceptional, on the contrary, hardly a day passed without the sky being filled with fantastic cloud formations, each and every one illuminated in unique, never-to-be-repeated ways, and since what you see every day is what you never see, we lived our lives under the constantly changing sky without sparing it a glance or a thought. And why should we? If the various formations had had some meaning, if, for example, there had been concealed signs and messages for us which it was important we decode correctly, unceasing attention to what was happening would have been inescapable and understandable. But this was not the case of course, the various cloud shapes and hues meant nothing, what they looked like at any given juncture was based on chance, so if there was anything the clouds suggested it was meaninglessness in its purest form.
    • The desire to sleep with her, which manifested itself more as a kind of physical openness and gentleness than lust’s more usual form, which of course is rougher, more acute, a kind of contraction of the senses, lasted all the way back to the house, but it was not in complete control because grief lay all around it, with its hazy, gray sky, which I suspected could overwhelm me again at any moment.
    • Standing outside on the pavement, Yngve produced a packet of cigarettes and offered me one. I nodded and took it. Actually the thought of smoking was repugnant, as it always was the day after drinking because the smoke, not so much the taste or smell as what it stood for, created a connection between the present day and the previous one, a kind of sensory bridge across which all kinds of things streamed so that everything around me, the grayish-black tarmac, the light gray curbstones, the gray sky, the birds flying beneath it, the black windows in the rows of houses, the red car we were standing beside, Yngve’s distracted figure, were permeated by terrifying internal images; at the same time there was something in the sense of destruction and desolation that the smoke in my lungs gave me that I needed, or wanted.
    • “It’s a bit like buying wine in a restaurant,” I said. “If you’re not a connoisseur, I mean. If you’ve got a lot of money you take the second-most expensive. If you haven’t, you take the second-cheapest. Never the most expensive, nor the cheapest. That’s probably the way it is with coffins as well.”

Page last revised on: 2024-02-23