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At this time, with the sun flashing on the windows on the opposite side of the street from the office, and with footsteps no longer, or at least seldom, echoing down the stairwell outside, groups of nursery children barely taller than sheep walked past, all wearing identical high visibility jackets, often serious-faced, as if spellbound by the adventurous nature of the enterprise, while the seriousness of the nannies, who towered like shepherds above them, felt instead to be verging on boredom. It was also during this period that the noise of all the work going on in the vicinity had enough space around it to come to the fore in one’s consciousness, whether it be a Stockholm Parks and Gardens employee blasting leaves from the lawns or pruning a tree, the Highways Department scraping a layer of tarmac from the street or a landlord totally renovating a block of flats nearby. Then a wave of white-collar workers and business people surged into the streets and filled all the restaurants to the rafters: it was lunchtime. When the wave, equally suddenly, retreated, it left a void which resembled that of the morning, yet had a character of its own, because though the pattern was repeated it was in reverse order: the scattered schoolchildren who passed my window now were on their way home and there was something unrestrained and boisterous about them, whereas when they had walked past on their way to school in the morning they still bore the silent imprint of sleep and the innate wariness we feel toward things that have not yet begun. The sun was shining now on the wall just inside the window, in the corridor the first clomping footsteps could be heard from the stairwell outside, and at the bus stop by the main hospital entrance the crowd of waiting passengers was bigger every time I looked out. More cars were in the street now, the number of pedestrians along the pavement leading to the high-rises was growing. This mounting activity culminated at about five o’clock, after that the area was quiet until the nightlife started at about ten, with crowds of raucous young men and shrill young women, and again at about three when it was over. At around six the buses started operating again, the traffic picked up, people streamed from gateways and stairways, a new day had begun.

So strictly regulated and demarcated was life here that it could be understood both geometrically and biologically. It was hard to believe that this could be related to the teeming, wild, and chaotic conditions of other species, such as the excessive agglomerations of tadpoles or fish spawn or insect eggs where life seemed to swarm up from an inexhaustible well. But it was. Chaos and unpredictability represent both the conditions of life and its decline, one impossible without the other, and even though almost all our efforts are directed toward keeping decline at bay, it does not take more than one brief moment of resignation to be thrust into its light, and not, as now, in shadow. Chaos is a kind of gravity, and the rhythm you can sense in history, of the rise and fall of civilizations, is perhaps caused by this. It is remarkable that the extremes resemble each other, in one sense at any rate, for in both immense chaos and a strictly regulated, demarcated world the individual is nothing, life is everything. In the same way that the heart does not care which life it beats for, the city does not care who fulfills its various functions. When everyone who moves around the city today is dead, in a hundred and fifty years, say, the sound of people’s comings and goings, following the same old patterns, will still ring out. The only new thing will be the faces of those who perform these functions, although not that new because they will resemble us.

I threw the cigarette end on the ground and drank the last drop of the coffee, already cold.

I saw life; I thought about death.

I got up, rubbed my hands on my thighs a few times, and walked down to the intersection. The passing cars left tails of swirling snow behind them. A huge articulated truck came down the hill with its chains clanking, it braked and just managed to shudder to a halt before the crosswalk as the lights changed to red. I always had a bad conscience whenever vehicles had to stop because of me, a kind of imbalance arose, I felt as though I owed them something. The bigger the vehicle, the worse the guilt. I tried to catch the driver’s eye as I crossed so that I could nod to restore the balance. But his eyes were following his hand, which he had raised to take something down from inside the cab, perhaps a map because the truck was Polish. He didn’t see me, but that didn’t matter, in which case braking couldn’t have bothered him to any great extent.

I stopped at the front entrance, tapped in the code and opened the door, found my key while taking the few steps up to the first floor where my office was situated. The elevator droned and I unlocked the door as quickly as I could, darted in, and closed it behind me.

The sudden heat made the skin on my hands and face tingle. Outside, one of the numerous ambulances drove past with siren wailing. I put on some water for another cup of coffee and while I was waiting for it to boil, I skimmed through what I had written so far. The dust hovering in the broad, angled shafts of light anxiously followed every tiny current in the air. The neighbor in the adjacent flat had begun to play piano. The kettle hissed. What I had written was not good. It wasn’t bad but it wasn’t good either. I went to the cupboard, unscrewed the lid of the coffee tin, put two spoonfuls of coffee in the cup, and poured the water, which rose up the sides, black and steaming.

The telephone rang.

I put the cup down on the desk and let the phone ring twice before I answered.

“Hello?” I said.

“Hi, it’s me.”

“Hi.”

“I was just wondering how things were going. Are you managing okay down there?”

She sounded happy.

“I don’t know. I’ve only been here a few hours,” I said.

Silence.

“Are you coming home soon?”

“You don’t need to hassle me,” I said. “I’ll come when I come.”

She didn’t answer.

“Shall I buy something on the way?” I asked at length.

“No, I’ve done the shopping.”

“Okay. See you then.”

“Good. Bye. Hold on. Cocoa.”

“Cocoa,” I said. “Anything else?”

“No, that’s all.”

“Okay. Bye.”

“Bye.”

After putting down the receiver I remained in the chair for a long while, sunk in something that was not thoughts, or feelings, more a kind of atmosphere, the way an empty room can have an atmosphere. When I absentmindedly raised the cup to my lips I drank a mouthful, the coffee was lukewarm. I nudged the mouse to remove the screen saver and check the time. Six minutes to three. Then I read the text I’d written again, cut and pasted it into my jottings file. I’d been working on a novel for five years, and so whatever I wrote could not be lackluster. And this was not radiant enough. Yet the solution lay in the existing text, I knew that, there was something in it I was after. It felt as if everything I wanted was there, but in a form that was too compressed. The germ of an idea that had set the text in motion was particularly important, namely that the action took place in the 1880s while all the characters and tangibles were from the 1980s. 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.