At nine minutes to eleven the door of the house across the road opened. I knelt up in bed and peered out the window. It was Fru Gustavsen; she was walking across the drive with a garbage bag in her hand.
I only realized how rare a sight this was when I saw her. Fru Gustavsen hardly ever showed herself outside; either she was seen indoors or in the passenger seat of their blue Ford Taunus, but even though I knew that, the thought had never struck me before. But now, as she stood by the garbage can, removing the lid, chucking the bag in and closing the lid, all with that somewhat lazy grace that so many fat women possess, it did. She was never outdoors.
The streetlamp beyond our hedge cast its harsh light over her, but unlike the objects she was surrounded by — the garbage can, the white walls of the trailer, the paving slabs, the tarmac — which all reflected the cold, sharp light, her figure seemed to modulate and absorb it. Her bare arms gave off a matte gleam, the material of her white sweater shimmered, her mass of grayishbrown hair appeared almost golden.
For a while she stood looking around, first over at Prestbakmo’s, then up at the Hansens’, then down at the forest across the road.
A cat strutted down towards her, stopped and watched her for a moment. She ran one hand up her arm a few times. Then she turned and went inside.
I glanced at the clock again. Four minutes to eleven. I shivered and wondered briefly whether I should put on a sweater, but concluded that would make everything seem too calculated if I was caught. And it was not going to take very long.
I crept warily to the door and pressed my ear against it. The only real element of risk was that the toilet was on this side of the sliding door. Once there, I would be able to keep an eye on them and have a chance to retreat if they should get up, but if the sliding door was closed, and they came toward me, I wouldn’t know until it was too late.
But in that case I could pretend I was going to the toilet!
Pleased with the solution, I cautiously opened the door and stepped into the passage. Everything was quiet. I tiptoed along the landing, felt the dry wall-to-wall carpeting against my sweaty soles, stopped by the sliding door, heard nothing, pulled it open a fraction, and peered in through the crack.
The TV was on in the corner. The two leather chairs were empty.
So they were on the sofa, both of them.
Perfect.
Then the globe with the N sign whirled round on the screen. I prayed to God they would show the same news report, so that Mom and Dad could see what I saw.
The newscaster started the program by talking about the missing fishing boat, and my heart was pounding in my chest. But the report they showed was different: instead of pictures of calm sea a local police officer was being interviewed on a quay, followed by a woman with a small child in her arms, then the reporter himself spoke against a background of billowing waves.
After the item was over there was the sound of my father’s voice, and laughter. The shame that suffused my body was so strong that I was unable to think. My innards seemed to blanch. The force of the sudden shame was the sole feeling from my childhood that could measure in intensity against that of terror, next to sudden fury, of course, and common to all three was the sense that I myself was being erased. All that mattered was precisely that feeling. So as I turned and went back to my room, I noticed nothing. I know that the window in the stairwell must have been so dark that the hall was reflected in it, I know that the door to Yngve’s bedroom must have been closed, the same as the one to my parents’ bedroom and to the bathroom. I know that Mom’s bunch of keys must have been splayed out on the telephone table, like some mythical beast at rest, with its head of leather and myriad metal legs, I know that the knee-high ceramic vase of dried flowers and straw must have been on the floor next to it, unreconciled, as it were, with the synthetic material of the wall-to-wall carpet. But I saw nothing, heard nothing, thought nothing. I went into my room, lay down on my bed, and switched off the light, and when the darkness closed itself around me, I took such a deep breath that it quivered, while the muscles in my stomach tightened and forced out whimpering noises that were so loud I had to direct them into the soft, and soon very wet, pillow. It helped, in much the same way that vomiting helps when you are nauseous. Long after the tears had stopped coming I lay sobbing. That had a soothing effect. When it too had worn itself out I lay on my stomach, rested my head against my arm, and closed my eyes to sleep.
As I sit here writing this, I recognize that more than thirty years have passed. In the window before me I can vaguely make out the reflection of my face. Apart from one eye, which is glistening, and the area immediately beneath, which dimly reflects a little light, the whole of the left side is in shadow. Two deep furrows divide my forehead, one deep furrow intersects each cheek, all of them as if filled with darkness, and with the eyes staring and serious, and the corners of the mouth drooping, it is impossible not to consider this face gloomy.
What has engraved itself in my face?
Today is the twenty-seventh of February. The time is 11:43 p.m. I, Karl Ove Knausgaard, was born in December 1968, and at the time of writing I am thirty-nine years old. I have three children — Vanja, Heidi, and John — and am in my second marriage, to Linda Boström Knausgaard. All four are asleep in the rooms around me, in an apartment in Malmö where we have lived for a year and a half. Apart from some parents of the children at Vanja and Heidi’s nursery we do not know anyone here. 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. This has become more pronounced over the years and can now last for weeks. When I drink I also have blackouts and completely lose control of my actions, which are generally desperate and stupid, but also on occasion desperate and dangerous. That is why I no longer drink. I do not want anyone to get close to me, I do not want anyone to see me, and this is the way things have developed: no one gets close and no one sees me. This is what must have engraved itself in my face, this is what must have made it so stiff and masklike and almost impossible to associate with myself whenever I happen to catch a glimpse of it in a shop window.
The only thing that does not age in a face is the eyes. They are no less bright the day we die as the day we are born. The blood vessels in them may burst, admittedly, and the corneas may be dulled, but the light in them never changes. There is, in London, a painting that moves me as much every time I go and see it. It is a self-portrait painted by the late Rembrandt. His later paintings are usually characterized by an extreme coarseness of stroke, rendering everything subordinate to the expression of the moment, at once shining and sacred, and still unsurpassed in art, with the possible exception of Hölderlin’s later poems, however dissimilar and incomparable they may be — for where Hölderlin’s light, evoked through language, is ethereal and celestial, Rembrandt’s light, evoked through color, is earthy, metallic, and material — but this one painting which hangs in the National Gallery was painted in a slightly more classically realistic, lifelike style, more in the manner of the younger Rembrandt. But what the painting portrays is the older Rembrandt. Old age. All the facial detail is visible; all the traces life has left there are to be seen. The face is furrowed, wrinkled, sagging, ravaged by time. But the eyes are bright and, if not young, then somehow transcend the time that otherwise marks the face. It is as though someone else is looking at us, from somewhere inside the face, where everything is different. One can hardly be closer to another human soul. For as far as Rembrandt’s person is concerned, his good habits and bad, his bodily sounds and smells, his voice and his language, his thoughts and his opinions, his behavior, his physical flaws and defects, all the things that constitute a person to others, are no longer there, the painting is more than four hundred years old, and Rembrandt died the same year it was painted, so what is depicted here, what Rembrandt painted, is this person’s very being, that which he woke to every morning, that which immersed itself in thought, but which itself was not thought, that which immediately immersed itself in feelings, but which itself was not feeling, and that which he went to sleep to, in the end for good. That which, in a human, time does not touch and whence the light in the eyes springs. The difference between this painting and the others the late Rembrandt painted is the difference between seeing and being seen. That is, in this picture he sees himself seeing whilst also being seen, and no doubt it was only in the Baroque period with its penchant for mirrors within mirrors, the play within the play, staged scenes and a belief in the interdependence of all things, when moreover craftsmanship attained heights witnessed neither before nor since, that such a painting was possible. But it exists in our age, it sees for us.