They hid the Canadian pilot in their barn. When the Germans came, his father described the explosion and the ball of light, and then the parachute that had appeared in the flames. The Germans asked where the parachute had landed, and his father made a drawing. He told them that the remains had been carried off by the wind, west towards the sea.
Sipke was twelve years old. Three times each day, he brought food and drink to the injured pilot, and then sat with him. The pilot taught him his first English word, which was thirsty. In time, with the covert assistance of the village doctor, the pilot’s broken bones mended. One day, the pilot disappeared, having been taken in the night by Resistance workers who had come up from the south.
When the war ended, Sipke was seventeen years old. Each of his three brothers had married, moving out of his parents’ farmhouse and into homes of their own, but Sipke had a longing to see the world. He studied languages, English, French and German at the university in Groningen, and after he had finished his schooling, he went to London. There, in the evenings, he wandered the museums, which were free and warm. In one, there was an exhibition of Robert Capa’s photographs. He saw the famous Spanish Civil War soldier, arms flung out in the moment of death; across the room, in the grainy photos of the D-Day landing at Normandy, Allied soldiers, munitions on their backs, laboured through the water. Night after night, he returned to this gallery, he sat on a bench and stared at the images for hours at a time. Walking home under the street lamps, through the crowds of people, he came to believe that only in stillness, only if he were able to step outside of time, could he begin to make sense of the world.
For half a year, he worked as a window washer, saving enough money to buy a Leica. He travelled across England, then Europe, honing his skills, improving his English. In Berlin, he photographed gaunt, skeletal men, German pows, walking home to their villages from labour camps in the Soviet Union. The pictures sold to a Dutch magazine, and he told the photo editor that he was willing to travel, ready to go anywhere. Shortly after, he was offered a job as a war photographer. A split-second decision, one that he did not hesitate over, and his life changed. Sipke sent a letter home, telling his mother that he was leaving for Indochina. She called the boarding house where he was staying, and tried, across the crackling lines, to persuade him to come home. How could he explain it? He needed to see things for himself, to know what he was capable of.
Later on, others told him that he had a gift; he was able to catch and distinguish the defining moment. When he was working, he had the sensation of walking into a deep tunnel, the edges of his body dissolving into the scene around him. Yet he was capable – he does not know how or why – of pulling something tangible from the deep. His photographs were picked up by Elsevier, Life and Réalités. He tried to follow Robert Capa’s famous dictum: “If your pictures aren’t good enough, you aren’t close enough.” It was the golden age of photojournalism, and the magazines and newspapers were hungry for images. In Indochina and afterwards, in Algeria, South Africa and Indonesia, he ceased to feel hunger or fear. He felt that his life was precariously balanced, and all he did to prevent his fall was click the shutter, this sound more real to him than his own heartbeat. For twelve years, he travelled from assignment to assignment, living without a fixed address. In Algeria, he photographed the mutilated bodies of men and women who had been tortured and killed, by guerillas, by the FLN or colon vigilante units. He photographed two small children, crawling through the bombed wreckage of their home; and then, that same day, in a neighbouring village, an entire family who had been murdered, in retaliation, by a mob. He felt as if a part of his mind was decaying, he was ashamed of the pictures that he took, and he was confused by their beauty. A dead child abandoned in a field, his face unmarked, the light on his skin. Tiny flowers rising between his fingers.
Nothing made sense, and he tried to separate himself from his emotions, focusing on the sights of his camera to dull the turmoil, the sickness. The only possible negotiation is war, François Mitterrand’s famous line, rang in his ears, and he knew he was witnessing the destruction of the middle ground. By the time he left Algeria, the estimated casualties stood between three hundred thousand and a million. Everywhere he went, he held his camera to his eyes and saw only the dead.
His first memory of beauty was when the Canadian pilot had fallen into the fields, wrapped in his silk parachute, and since that day, he had tried to recapture what he felt, staring up at the sky. I am watching you, he had thought, running across the grass. You must be alive, because I am watching you.
Exhausted, he accepted an assignment from Elsevier to travel to Indonesia and shoot a photo essay: Borobudur, dancers in Bali, Khrushchev’s visit to the capital. It was 1963. One morning, walking through a slum in Jakarta, he gave a few cents to a fortune teller who offered to read his future. She warned him that his gift would disappear. “Not this year or the next,” she said. “But somehow you will lose your talents. You will receive something of great value in return.”
Sipke tells all this to Gail as he drives her from Amsterdam towards the north, to his home in Ysbrechtum, in Friesland. Gail Lim is a young woman, perhaps in her late thirties. The first thing he noticed about her, at her friend Harry Jaarsma’s apartment, was her smile, which seemed to travel across the room and push him lightly in the chest. She had opened the door, her eyes brightening immediately. They went out to his car, and she carried only a small, old-fashioned suitcase and a canvas bag over her shoulder.
Driving, now, he talks about the three thousand kilometres of fortifications that surround the country, protecting it from the sea. They pass the gleaming propellers of the new windmills, the neat rows of poplars lined up like sentries to buffer the wind. When they cross the Afsluitdijk, and the North Sea opens to the west, she says that the landscape is hypnotic. Their car runs down the highway as if they are moving across the beautiful flatness of the ocean itself. “This is a country so small,” he tells her, “that on a map it must write its name upon the sea.” She is a good listener, she allows him to talk, to ramble, until he runs out of words. An hour and a half, and the highway has already carried them far north, to fields and shining canals. “When I was a boy,” Sipke says, “I would ride my bicycle on the farm roads. I would open my arms and use my coat as a sail to catch the wind.”
He asks about her schedule, and Gail tells him that she is not due to fly home to Vancouver until Thursday. She has arranged for a rental car and will drive herself back to Amsterdam. He counts the days in his head. “Three days to see this part of the country,” he says.
He reaches into his shirt pocket and takes out a small black-and-white photograph showing Ani and Wideh, standing at the train station in Heerenveen, on the day that Wideh left home to begin university.
“My wife and son,” Sipke says. For the last thirty years he has thought of Wideh as his own child, and the word comes out before he realizes his mistake.
Gail does not seem to notice. She takes the photo from him, and her expression as she studies it is intent.
She is waiting for him to continue, Sipke knows, but he keeps driving, unable to speak. The realization takes root in his mind: she has not come because of Wideh. It was Ani she asked about over the phone, Ani whose story she wishes to hear. The photograph remains in her hands.