The Frankfurt Book Fair is going all week, so rather than vanish for a few days, all this week we’re serializing the opening of Jan Kjaerstad’s _The Discoverer, translated from the Norwegian by Barbara Haveland. This is the follow-up to The Conqueror (although each book in the Wergeland Trilogy can be read independently of the others) and takes place shortly after TV-producer and Norwegian icon Jonas Wergeland has released from prison for the murder of his wife. [Click here for Part I and here for Part II and here for Part III.]
You can purchase the book from our site, either by itself as part of a subscription to Open Letter or as one of the titles in our special 2 books for $22 offer. It’s worth noting that as part of this special offer, you’re automatically entered into a drawing to win a free year’s subscription. So, without any further ado . . . _
How could anyone have missed it? All those books, a whole sea of articles and reports on Jonas Wergeland—and no one has mentioned the real prime motive behind everything he did. Because the fact is that Jonas made up his mind in the spring of the year when he turned ten. As he saw it, the answer to the question of the fundamental reason for living obviously had to be related to life itself: it was, quite simply, to save lives. Jonas made the sort of secret, solemn decision of which only a child is capable. One day, he vowed, he would save someone’s life. Most children do not give much thought to what they will be when they grow up. Even when coming out with the expected “A policeman!” or “A ship’s captain!” they are really not that interested. It is too abstract a concept. But Jonas meant it with all his heart when, in response to the grown-ups’ questions, he declared: “I’m going to be a lifesaver.”
From the very start he knew it would have to do with water. With drowning. He could not picture himself reaching out a hand to stop a runaway pram from careering downhill onto the electrified rails of the new subway line, all but stifling a yawn as he did so, or nonchalantly sticking out a foot to prevent some brat on a sledge from sliding into the path of a big truck. No, it would have to be something more spectacular. A real act of heroism. Preferably with masses of spectators. Grandstands full. He toyed for a while with fire as an alternative; in his mind he saw himself rescuing a woman from the licking flames in a burning building; pictured himself dashing out, coughing, his eyebrows singed, with the woman in his arms, just as the fire engines drove up with blue lights flashing and sirens blaring and the whole edifice collapsed in a deadly inferno behind him. In his imagination, the woman was always wearing lacy underwear and had her arms wrapped tightly around him, a reward greater than seeing his name—inscribed in letters of fire, so to speak—on any “Norwegian Fire Protection Diploma of Honor.”
But training for such an eventuality was not easy, and Jonas realized that it would have to be water—even though this was several decades before television series about lifeguards would become such a hit. For Jonas, this conviction went hand in hand with the knowledge that he was in possession of an extraordinary gift: it could not be for nothing that he had been endowed with his almost uncanny ability to hold his breath. Some day, possibly a cold winter’s day, in front of a stunned crowd, he would have to dive off a quayside to save a child that had fallen in and was lying many meters below the surface. There might even be ice, and he would have to find his way back to a little hole in it, like a seal. Shouts and cheers. Banner headlines. His name in shining letters. “Boy risks his own life.” The classic life-saving exploit. The sort of thing for which people were awarded the Carnegie Medal. Some day the call would come and he had to be ready. In his daydreams the child was usually a girl, a lass with wet hair and lacklustre eyes which, nonetheless, were turned up to him in a look of eternal gratitude.
Jonas trained with single-minded determination. Held his breath on the walk to school, held his breath in the classroom, held his breath before he went to sleep. He thought the hour of his great deed lay far in the future, that he would have to be patient. And then, only a year after he had made up his mind to be a lifesaver, with his basic training barely completed, it was upon him. The accident occurs on a day when he is totally unprepared for it, a day when he has almost forgotten about it or is, at any rate, thinking about something else. A day when the aim is not to save a life, but to see as many naked women as possible.
Jonas Wergeland sat on the organ bench. Remembered a dream he had put out of his mind, rejected as being far too naïve. Of being a lifesaver. The first time his father had taken him behind the organ and shown him the fan and the bellows; it had reminded him of breathing, of being able to control your breath. Jonas thought, wove, his playing suddenly more inspired, as if he really could save lives, breathe life, spirit, into something that was dead; manipulated the stops as if he were Dr. Frankenstein in his laboratory. There, in Grorud Church, he played Bach, the exquisite “little” Prelude in E minor, a piece which starts out sounding like an improvisation, a playful exercise in runs and harmonies, but gradually slips into a more definite pattern, following a more distinct theme. Jonas had spent a long time practicing to get it right, but now he simply sat there, weaving, or leaving it to Bach, the great weaver of the Baroque. Every musician knows that sometimes—on mysteriously blessed days—one can exceed one’s own musical and, not least, technical skills. For Jonas, this was one of those days. It felt good to play. There was something special about the contact between his fingers and the keys, an unusual sureness to his touch; even his feet seemed to dance of their own accord.
Jonas did not know that a woman clad in bright orange was about to enter the church beneath him and, indirectly, change his life. He was playing the organ, and because he happened to be playing Bach on the organ, a piece of music resembling a network within which everything was connected in a comforting and meaningful fashion, his thoughts kept revolving around his father. His father and him. Always these two, Haakon and Jonas. He knew he was the apple of his father’s eye, thought it might have something to do with a talent they shared, that his father saw something in Jonas which he recognized. He had the feeling that his father was trying to shield him from something, though he never knew what.
As a small boy, Jonas could have appeared on Double Your Money, answering questions on his father. He knew his every wrinkle, every scent, every story. He could describe the way his father ate grapefruit, or his virtual addiction to the National Geographic; he could detail his father’s method of cutting his toenails or repeat word for word the minutes-long spiels he recited every morning in bed as he stretched his limbs until they cracked. Jonas was the only one, so he believed, who knew of the great pleasure Haakon Hansen took in being able to paddle, edge, his kayak in and out of the little islets around Hvaler. And then there were father’s breakfasts: bacon and egg every morning when there was no school. Instead of bawling out the standard “come-and-get-it” refrain their father would sit down at the ivories of the piano in the living room and wake them with a rendition of Bach’s Goldberg variation no. 6, a piece which is only thirty seconds long, but which Jonas felt was the closest one came to the perfect work for the piano. His father played
that same piece every Saturday and Sunday morning, year in year out; the pleasure of it stayed with Jonas for ever, that of waking to Bach’s Goldberg variation no. 6 and the smell of his father’s breakfast. “What more does a man need than Bach and a bit of bacon?” as Haakon Hansen would say, thereby making his contribution to the great debate on the meaning of life. It was a weekend in itself: Bach and bacon. And bacon, mark you, that was as crisp as the music of Bach.
Jonas would be well up in years before he understood that even though you knew someone, you might not know them at all.
One day in April they went for a drive in his father’s Opel Caravan, these two, always just these two, Haakon and Jonas. A journey of discovery his father called it. Jonas had been given the day off school; he thought they were going to Gjøvik, but they had carried on past it and taken a road away from Lake Mjøsa, running inland. Jonas stared out of the window as they drove through a valley, feeling rather disappointed. Nothing but farms, a few scattered houses. Could anything be discovered here, in such a lonely spot? Just at that moment his father pulled up in front of a large, yellow-painted building at the head of the valley. On a sign on the façade tall, white letters gleamed in a rainbow arc: The Norwegian Organ and Harmonium Works. Jonas found it hard to believe that something as thrilling as this could be hidden away deep in the forest. A man greeted Haakon Hansen courteously when he stepped out of the car, as if he were a visiting prince. “Welcome to Snertingdal,” the man said. Snertingdal—to Jonas it sounded as full of promise as Samarkand.
First they were ushered into the workshop where the pipes were bored. Jonas knew a fair bit about organs, but nothing about how they were made. He was so taken with the carpentry skills of a man working on a console with a manual keyboard that he had to be dragged away to the drawing office, from which they also had a grand view of the valley and the mill next door. To the accompaniment of a droning saw his father pored over the drawings for the new organ for Grorud Church—since that was, of course, why they were here; his father had been informed that work on the instrument would soon be finished. Enormous charts on a tilted drawing board showed the organ from different angles. His father nodded and smiled, traced lines with his fingers and enquired about details which meant nothing to Jonas. To him it looked like a cathedral, or the designs for some fantastical machine.
Paul Klee’s Boat, Anzhelina Polonskaya’s newest bilingual collection of poems available in English, is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel. A former professional ice dancer(!), Polonskaya left the. . .
In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
There are curious similarities in three Italian mystery series, written by Maurizio de Giovanni, Andrea Camilleri, and Donna Leon.1
They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .
Throughout his career—in fact from his very first book, Where the Jackals Howl (1965)—the renowned Israeli writer Amos Oz has set much of his fiction on the kibbutz, collective communities he portrays as bastions of social cohesion and stultifying conformity. . .
Antoon gives us a remarkable novel that in 184 pages captures the experience of an Iraqi everyman who has lived through the war with Iran in the first half of the 1980s, the 1991 Gulf War over the Kuwaiti invasion,. . .
Every fictional work set in L.A. begins with a slow crawl through its streets in the early hours of the morning right after sunrise. Maybe it’s always done this way to emphasize the vast sprawl of the city and highlight. . .