It was now quite dark. Out in the channel they could see the lights on the odd boat. Gabriel came over to the locker on which Jonas was sitting and put an arm round him. Was Jonas hungry? How would he like to taste a speciality from London’s West End?
They crossed to the hatch and climbed down the ladder. Gabriel was one of the few people with an old boat of this kind who had not installed an engine. Instead he talked about the wind: of the wind as cause and effect, of caprice and unpredictability. And of humility. ‘The wind is always there,’ he said. ‘But it’s only when you start to sail that you really become aware of it.’
Jonas settled himself in the saloon and lit the paraffin lamp, while Gabriel went into the galley to make his West End speciality. Jonas liked being in the saloon, he felt happier in that saloon than almost anywhere else, he liked the smell, liked the light and above all else he liked the stories which inhabited that room. On one of the bulkheads hung a bookshelf constructed in such a way that the books, all of them plays, would not fall out when the seas ran high.
The food was served up, the same as always, corned beef and tomatoes. And whisky. In ship’s mugs.
To those who know Gabriel Sand it will come as no surprise when I say that not everyone was so enamoured of his boat as Jonas Wergeland. In fact, that very evening certain characters of a more vindictive nature were making their way down to the bay and a waiting rowboat, sharp knives in pockets.
On board the Norge Gabriel raised his mug: ‘Did I ever tell you about my time on the Marquesas Islands, when I swam in the most wonderful lagoon I’ve ever come across on this Earth? It lay between the legs of the princess Aroari.’
All Roads Lead to …
Jonas Wergeland took a relaxed attitude to sex, thanks to his family. No talk here of rather strained or diffident conversations about the birds and bees. Not a bit of it, there was no beating about the bush in that house. All boys have some older girl whom they idolize like a goddess; their own local Brigitte Bardot or whomever the times may have elevated to that position. Jonas and Daniel had their own sister, Rakel, and you didn’t get many of her to the pound, that was for sure. With her six years head start on them Rakel was of invaluable help to the two brothers, rather like an icebreaker clearing a passage through which they could sail.
While Jonas and Daniel had their noses buried in comic strips depicting the Wild West, the Second World War or Walt Disney’s more or less amazing world, Rakel had already delved deep into the Arabia of the Middle Ages as she was introduced to it in the Arabian Nights, in a splendid edition given to her, of course, by Aunt Laura. No Bobbsey Twins or Nancy Drew for Rakel; nothing but the Arabian Nights would do, and it may have been for this reason that Jonas acquired such an early distrust of any and all forms of reading, seeing that he was soon to discover what an alarming effect books can have on a person.
After only the first couple of volumes something happened to Rakel’s eyes, her eyelids drooped slightly, giving her a characteristic veiled look, and she viewed the world as if constantly intent on seducing everything and everyone in it. From then on, the brothers did not remember their sister as Rakel, but by turns as Emerald or Princess Full Moon or the Serpent Queen; when, that is, she was not being some far more complex character such as Tauaddud or Kutt-el-Kulub or Menar es-Sena. Their sister switched identities, taking on the parts of the various and pretty complex characters in a way that was quite awe-inspiring; to the point where she not only took to wearing a bewildering variety of imaginative costumes, but demanded to be addressed by the correct name: ‘I beg your pardon,’ she was liable to say indignantly if someone happened to forget. ‘My name is Sobeida,’ referring to the caliph’s favourite wife, assuming that Sobeida was the role model of the moment. Jonas never did figure out whether these changes of character had some bearing on the way his sister saw the world: whether she lived her life, as it were, according to the stories she was reading — breaking into song after reading about Maimoune, for example — or whether it was the things that happened to her in real life that sent her in search of new role models from the tales, so that she might, for instance, only come across the doughty Princess Abrisa after having had a fight with some boy. This was Jonas’s earliest encounter with the question of cause and effect, and he had a suspicion that there was no easy answer. The point I am trying to make, however, is that Rakel’s sense for the erotic and its significance can be traced to the Arabian Nights.
One of the most unforgettable lessons in life, that concerning the turtle of existence itself, Jonas and Daniel learned when their sister was fifteen years old and they were eight and nine respectively. ‘Today boys, I’m going to teach you about the centre of the world. Okay, trousers down!’
I think it might be as well to express, once and for all, my wonder at how touchy Norwegians are when it comes to sex, not least as a reminder of the background against which this little scenario of ours is played out. I think one can safely say that Norway is not one of those countries where sexuality has been most openly discussed, hence the tendency in this land to resort, at the drop of a hat, to antiquated pornography laws. Around this time, a couple of years later, that is, the censor took the step of cutting out thirty-two metres of Ingmar Bergman’s not exactly insignificant film The Silence, and it made no difference that these scenes happened to be crucial to the film as a whole, because they were of a sexual nature. As far as I know, Norway must also have been the only country in the world in which people seriously debated whether the miniskirt could have a detrimental effect on efficiency in the workplace and even today, posters depicting young ladies modelling underwear can provoke front-page headlines in the newspapers and so much debate you’d think the security of the nation was at stake. As for what Norway did to the writer Agnar Mykle, I would rather not go into that at all.
Rakel, on the other hand, had an unorthodox, one might say an un-Norwegian, approach to sexuality. She was very advanced for her years. She knew that the body was an instrument, and one which had to be mastered as quickly as possible; her matter-of-fact approach went hand in hand with an experimental, not to say humorous, view of the whole thing. Jonas found it hard to forget the time when she got the new vicar at Grorud, the one they had for bible study, into such a state that he was all set to give up his calling, or at any rate to move to another diocese. It happened one Sunday during church service and, as usual, there were only a handful of people in the church. Jonas and Rakel were sitting upstairs in the gallery, Rakel because she liked to observe the vicars from above, Jonas because he liked to watch his father playing. Their mother, if anyone is wondering, never accompanied them to church, she much preferred to lie in the bathtub at home with one of her seven lovers.
In the middle of the sermon, while their father was relaxing with a copy of the National Geographic in his office, and Jonas was sitting on the organ bench pretending to be driving the biggest racing car in the world and keeping half an eye on what was going on in the rest of the church through the nifty mirror fixed to the side of the organ, he noticed that his sister was unbuttoning her blouse and then, suddenly, there she was, sitting naked from the waist up; her breasts, which were already well-developed for her age, pointing straight down at the young vicar who, as he raised his eyes — possibly looking for inspiration, quite clearly lost the thread of his sermon; at best, his thoughts may have turned to ‘The Song of Solomon’ and the verses in which two breasts are compared to two young roe-deer feeding among the lilies. After this incident, the young vicar gave Rakel a wide berth whenever they happened to meet.