Eventually he moved into a collective, and for me that was bad news because then my dependence on him became so visible; hardly a day passed without my appearing at their door, and when he wasn’t at home I sat in their living room, either dutifully entertained by one of the collective’s members, or alone, leafing through a music magazine or a newspaper, like a poster child of a failed human being. I needed Yngve, but Yngve didn’t need me. That was how it was. I might be able to chat with one of his friends when he was present, there was a framework, but on my own? Go up to one of them on my own? That would just seem weird and forced and obtrusive, that was not on. And in fact my behavior was not very good, to put it mildly, I was getting drunk too often, and I did not flinch from harassing someone if I got the idea into my head. Usually something to do with their appearance or silly, small mannerisms that I might have observed.
The novel I wrote while studying at the academy was turned down, I started at the university, I studied literary science half-heartedly, couldn’t write any longer, and all that was left of my writing career was the desire. That was strong, but how many people at university did not nurture the same desires? We played at Hulen with our band, Kafkatrakterne, we played at Garage, some of our songs were played on the radio, we had a couple of fine reviews in music papers, and that was good; however, I knew all the while that the sole reason I was there was because I was Yngve’s brother, I was a terrible drummer. When I was twenty-four I had a flash of insight: that this was in fact my life, this is exactly what it looked like and presumably always would. That one’s studies, this fabled and much-talked about period in a life, on which one always looked back with pleasure, were for me no more than a series of dismal, lonely, and imperfect days. That I had not seen this before was due to the constant hope I carried around inside me, all the ridiculous dreams with which a twenty-year-old can be burdened, about women and love, about friends and happiness, about hidden talents and sudden breakthroughs. 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. Meanwhile Yngve, who had had his friends all this time, his studies, his work, and his band, not to mention his girlfriends, got everything he wanted.
What did he have that I did not? How come he was always lucky while the girls I spoke to seemed either horrified or scornful? Whatever the reason, I stayed close to him. The only good friend I had during these years was Espen, who started at the academy the year after me, and whom I met through the literature course — he asked me to look at some poems he had written. I knew nothing about poetry, but I looked at them, gave him some baloney he didn’t see through, and then little by little we became friends. Espen was the type who read Beckett at school, listened to jazz, and played chess, who had long hair and a somewhat nervous and anxious disposition. He was closed to gatherings of more than two people, but intellectually open, and he made his debut with a collection of poems a year after we had met, not without some jealousy from my side. Yngve and Espen represented two sides of my life, and of course they did not get along.
Espen probably didn’t know this himself, since I always pretended to know most things, but he pulled me up into the world of advanced literature, where you wrote essays about a line of Dante, where nothing could be made complex enough, where art dealt with the supreme, not in a high-flown sense because it was the modernist canon with which we were engaged, but in the sense of the ungraspable, which was best illustrated by Blanchot’s description of Orpheus’s gaze, the night of the night, the negation of the negation, which of course was in some way above the trivial and in many ways wretched lives we lived, but what I learned was that also our ludicrously inconsequential lives, in which we could not attain anything of what we wanted, nothing, in which everything was beyond our abilities and power, had a part in this world, and thus also in the supreme, for books existed, you only had to read them, no one but myself could exclude me from them. You just had to reach up.
Modernist literature with all its vast apparatus was an instrument, a form of perception, and once absorbed, the insights it brought could be rejected without its essence being lost, even the form endured, and it could then be applied to your own life, your own fascinations, which could then suddenly appear in a completely new and significant light. Espen took that path, and I followed him, like a brainless puppy, it was true, but I did follow him. I leafed through Adorno, read some pages of Benjamin, sat bowed over Blanchot for a few days, had a look at Derrida and Foucault, had a go at Kristeva, Lacan, Deleuze, while poems by Ekelöf, Björling, Pound, Mallarmé, Rilke, Trakl, Ashbery, Mandelstam, Lunden, Thomsen, and Hauge floated around, on which I never spent more than a few minutes, I read them as prose, like a book by MacLean or Bagley, and learned nothing, understood nothing, but just having contact with them, having their books in the bookcase, led to a shifting of consciousness, just knowing they existed was an enrichment, and if they didn’t furnish me with insights I became all the richer for intuitions and feelings.