Dependency
PART ONE
1
Everything in the living room is green – the carpet, the walls, the curtains – and I am always inside it, like in a picture. I wake up every morning around five o’clock and sit down on the edge of the bed to write, curling my toes because of the cold. It’s the middle of May, and the heating is off. I sleep by myself in the living room, because Viggo F. has lived alone for so many years that he can’t get used to suddenly sleeping with another person. I understand, and it’s fine with me, because now I have these early morning hours all to myself. I’m writing my first novel, and Viggo F. doesn’t know. Somehow I think that if he knew, he would correct it and give me advice, like he does all the other young people who write in Wild Wheat, and then that would block the flow of sentences coursing through my brain all day long. I write by hand on cheap yellow vellum, because if I used his noisy typewriter, which is so old it belongs in the National Museum, it would wake him up. He sleeps in the bedroom looking out on the courtyard, and I don’t wake him until eight o’clock. Then he gets up in his white nightshirt with the red trim, and with an annoyed look on his face, he walks out to the bathroom. Meanwhile I make coffee for both of us and butter four pieces of bread. I put a lot of butter on two of them, because he loves anything fattening. I do whatever I can to please him, because I’m so thankful he married me. Although I know something still isn’t quite right, I carefully avoid thinking about that. For some incomprehensible reason, Viggo F. has never taken me in his arms, and that does bother me a little, as if I had a stone in my shoe. It bothers me a little because I think there must be something wrong with me, and that in some way I haven’t lived up to his expectations. When we sit across from one another, drinking coffee, he reads the newspaper, and I’m not allowed to talk to him. That’s when my courage drains away like sand in an hourglass; I don’t know why. I stare at his double chin, vibrating weakly, spilling out over the edge of his wing-tip collar. I stare at his small, dainty hands, moving in short, nervous jerks, and at his thick, gray hair which resembles a wig, because his ruddy, wrinkle-free face would better suit a bald man. When we finally do talk to one another, it’s about small, meaningless things – what he wants for dinner, or how we should fix the tear in the blackout curtains. I feel glad if he finds something cheerful in the newspaper, like the day when it said people could buy alcohol again, after the occupying forces had forbidden that for a week. I feel glad when he smiles at me with his single tooth, pats my hand, says goodbye and leaves. He doesn’t want false teeth, because he says that in his family men die at fifty-six, and that’s only three years away, so he doesn’t want the expense. There’s no hiding the fact that he’s stingy, and that doesn’t really match the high value my mother put on being able to provide. He’s never given me a piece of clothing, and when we go out in the evening to visit some famous person, he takes the streetcar, while I have to ride my bicycle alongside it, speeding along so I can wave to him when he wants. I have to keep a household budget, and when he looks at it, he always thinks everything is too expensive. When I can’t get it to add up, I write ‘miscellaneous’, but he always makes a fuss about that, so I try not to miss any expenses. He also makes a fuss about having a housekeeper in the mornings, since I’m home anyway, doing nothing. But I can’t and won’t keep house, so he has no choice. I feel glad when I see him cut across the green lawn toward the streetcar, which stops right in front of the police station. I wave to him, and when I turn away from the window, I completely forget about him until he shows up again. I take a shower, look in the mirror, and think to myself that I am only twenty years old, and that it feels like I have been married for a generation. It feels like life beyond these green rooms is rushing by for other people as if to the sound of kettledrums and tom-toms. Meanwhile I am only twenty years old, and the days descend on me unnoticeably like dust, each one just like the rest.
After I get dressed, I talk with Mrs Jensen about lunch and I make a list of what needs to be purchased. Mrs Jensen is taciturn, introverted and a bit insulted that she’s not alone in the house anymore, like she used to be. What nonsense, she mumbles, that a man of his age would marry such a young girl. She doesn’t say it so loud that I have to answer, and I can’t be bothered to listen to what she says. I’m thinking about my novel all the time, which I know the title of, though I’m not completely sure what it will be about. I’m just writing; maybe it will be good; maybe not. The most important thing is that I feel happy when I’m writing, just as I always have. I feel happy and I forget everything around me, until I pick up my brown shoulder bag and go shopping. Then I’m gripped again by the morning’s vague gloom, because all I see in the streets are loving couples walking hand in hand and looking deep into one another’s eyes. I almost can’t bear the sight of it. I realize I’ve never been in love, except for a brief episode two years before, when I walked home from the Olympia Bar with Kurt, who was going to be leaving the following day for Spain to take part in the civil war. He might be dead now, or maybe he came back and found himself another girl. Maybe I didn’t really have to marry Viggo F. to make it in the world. Maybe I only did it because my mother wanted me to so badly. I poke a finger into the meat to see if it feels tender. This is something my mother has taught me. And I write on my little notepaper what it costs, because I’ll forget before I get home. When the shopping is done and Mrs Jensen has left, I put everything out of my mind so I can hammer away at the typewriter, now that it won’t disturb anyone.
My mother comes and visits me regularly, and together we can be pretty silly. A couple of days after I got married, she opened up the closet and looked through Viggo F.’s clothes. She calls him ‘Viggomand’, because she has just as much trouble as other people calling him by his real name. I can’t do it either, because there is something immature about the name Viggo when it’s not referring to a child. She held all his green clothing up to the light and found a set that was so moth-eaten, she thought it couldn’t be worn anymore. Mrs Brun could use this to sew me a dress, she concluded. It was never any use to oppose my mother when she made a decision like that, so offering no resistance, I let her leave with the clothes, hoping that Viggo F. wouldn’t ask about it. Sometime later we visited my parents. We don’t do that very often, because there’s something about the way Viggo F. talks to them that I can’t stand. He speaks loudly and slowly, as if to mentally disabled children, and he searches carefully for subjects he thinks might interest them. We visited them, and suddenly he prodded me with a confidential elbow in my side. What a coincidence, he said, twirling his mustache between his thumb and forefinger. Did you notice that the fabric of your mother’s dress exactly matches a set of clothes I have hanging in the closet at home? Then my mother and I dashed from the room and burst out laughing.
During this period I feel very close to my mother, and I’m not harboring any deep and painful feelings about her anymore. She is two years younger than her son-in-law, and they never talk about anything except how I was as a child. I don’t recognize myself at all in my mother’s early impressions of me; it’s like they’re talking about a different child altogether. When my mother comes to visit, I stuff my novel away in my locked drawer in Viggo F.’s desk. I make coffee and we drink it while we chat. We talk about how good it is that my father has gotten steady work at the Ørsted factory, about Edvin’s cough, and about all the alarming symptoms from my mother’s internal organs, which have plagued her ever since Aunt Rosalia’s death. I think my mother is still pretty and youthful. She’s petite and her face is nearly wrinkle-free, just like Viggo F.’s. Her permed hair is thick as a doll’s, and she always sits on the edge of her chair, with a straight back and her hands on the handles of her purse. She sits the same way Aunt Rosalia always did when she only was going to stay ‘a brief moment’, and then didn’t leave until several hours had passed. My mother leaves before Viggo F. comes home from the fire insurance company, because he is usually in a bad mood then and doesn’t like i
t if anyone is here. He hates his work at the office and he hates the people there, too. He has something against everyone, I think, unless they happen to be artists.
After we’ve eaten and gone over the household budget, he usually asks how far I’ve come with The French Revolution, which is supposed to be part of my basic education, so I make sure that I have read at least a few new pages in it. After I’ve carried out the dishes, he lies down to rest on the divan, and I glance at the blue globe outside the police station, which illuminates the deserted courtyard with a glassy light. Then I roll down the shades, sit down and read Carlyle until Viggo F. wakes up and wants coffee. While we drink it, and if we don’t have to go out to visit some famous person, a strange silence spreads between us. It’s as if everything we might have said to one another was used up before we were married, as if we spent all the words that ought to have lasted the next twenty-five years; because I don’t believe he’s going to die in three years. The only thing occupying my thoughts is my novel, and since I can’t talk about that, I don’t know what to talk about. A month ago, just after the occupation started, Viggo F. was alarmed because he thought the Germans were going to arrest him, since he had written an article in the Social-Demokraten about the concentration camps. So we talked about what might happen. And in the evening his equally frightened friends, who had similarly troubled consciences, came by. But now they all seem to have forgotten about the danger, and they live mostly as if nothing ever happened. Every day I’m afraid that he will ask me if I have finished reading his manuscript for the new novel he’ll be sending to Gyldendal Publishing. It’s lying on his desk, and I’ve tried to read it, but it’s so boring and wordy and full of knotty, incorrect sentences, that I don’t think I will ever be able to get through it. That also makes the atmosphere between us tense – that I don’t like his books. I’ve never said that out loud, but I’ve never praised them either. I’ve just said that I don’t understand much about literature.
Though our evenings at home are sad and uniform, I still prefer them to the evenings with the famous artists. When I am with them I’m gripped by shyness and awkwardness, and it’s as if my mouth were full of sawdust, because it’s impossible for me to come up with clever answers to their jovial remarks. They talk about their paintings, their exhibitions or about their books, and they read aloud poems they have just written. For me, writing is like it was in my childhood, something secret and prohibited, shameful, something one sneaks into a corner to do when no one else is watching. They ask me what I am writing at the moment, and I say, Nothing. Viggo F. comes to my rescue. She’s reading right now, he says. You have to read an awful lot to be able to write prose, and that will be the next thing. He talks about me almost as if I weren’t present, and I’m relieved when we finally get up to go. When he’s with famous people, Viggo F. is a completely different person – cheerful, self-confident, witty – just like he was with me in the beginning.
One evening, out at the home of the illustrator Arne Ungermann, they mentioned wanting to gather together all the young people who are published in Wild Wheat, since they are most likely very lonely, scattered around Copenhagen. They would probably be happy to get to know one another. Then Tove could be the head of the association, says Viggo F., giving me a friendly smile. Thinking about that makes me happy, since otherwise I only see young people when they venture out to us with their work, and they barely even glance at me then, since I’m married to this important man. My elation frees up my tongue and I say it could be called ‘The Young Artists Club’. The idea draws general applause.
The next day I find the addresses in Viggo F.’s notebook, and in a few brief phrases I write a very formal letter in which I suggest a meeting at our home one particular evening in the near future. Then I deposit all the letters in the mailbox beside the police station, imagining how happy they will be, because I think that they’re poor and lonely like I was not long ago, and that they’re sitting in ice-cold, rented rooms all around the city. It occurs to me that Viggo F. knows me quite well after all. He knows I’m tired of only being around old people. He knows that I often feel suffocated by life in his green rooms, and that I can’t spend my entire youth reading about the French Revolution.
2
The Young Artists Club is now a reality and my life has regained color and substance. Every Thursday evening about a dozen of us meet, in a room in the Women’s Building that we got permission to use as long as we each buy a cup of coffee. It costs one krone per person, without cake, and those who don’t have money borrow it from those who do. The meeting starts with a lecture by a famous older artist – a ‘Big Fish’ – who thereby does Viggo F. a friendly favor. I never hear a word of the lecture, because I’m too preoccupied with having to stand up and thank them when it’s over. I always say the same thing: Let me thank you for that excellent lecture. It was very kind of you to come. Usually, to our relief, the Big Fish declines our offer to stay for coffee. Then the rest of us pass the time, chatting cheerfully about everything under the sun, but rarely naming who brought us together. At the most, one of them might say to me incidentally, Do you happen to know if Møller liked the two poems I sent him recently? They all call him Møller and speak of him with veneration. Thanks to him they’re not unknowns; thanks to him, if they’re lucky, once in a while they’ll get to see their names in a review of Wild Wheat, which has always enjoyed attention from the media. There are only three girls in the club – Sonja Hauberg, Ester Nagel and myself. The two of them are pretty, serious, dark-haired, dark-eyed and from wealthy homes. Sonja studied literature, and Ester works in a pharmacy. All of us are about twenty years old except for Piet Hein, who is the only one who doesn’t seem to respect Viggo F. very much. Piet Hein makes a fuss over the fact I have to be home by eleven, and that I can never go with him afterwards to the Hungarian Vinhus. But I always arrive home on time, because Viggo F. is sitting up, waiting for me, to hear how the evening went. He waits there with coffee or a glass of wine, and at those times I see him through my friends’ eyes. This usually makes me want to show him my half novel, but in the end I can’t bring myself to do it. Piet Hein has a face as round as a pie, and a sharp tongue, which frightens me a bit. When he walks me home at night through the blacked-out moonlit city, he stops at the canal or in front of the stock-exchange building with its green copper luminous roof, opens my hands like a book, and kisses me long and deep. He asks me why I married that troglodyte, when I’m so beautiful I could have almost anyone I choose. I answer obliquely, because I don’t like it when anyone makes fun of Viggo F. I don’t think Piet Hein knows what it’s like to have been poor and to have had to use nearly every second of your life just to survive. I have more compassion for Halfdan Rasmussen, who is short, skinny, badly dressed, and living off public support. He and I had the same kind of upbringing and we speak the same language. But Halfdan is in love with Ester, Morten Nielsen with Sonja, and Piet Hein with me. We figured this out within a few Thursdays. I’m not sure if I’m in love with Piet Hein. When he kisses me I get aroused, but he also confuses me when he wants me to do a ton of things all at once, like: marry him, have children, and meet a girl he knows because he thinks I need a girlfriend. When Piet takes me in his arms, he calls me ‘Kitten’.
One evening he brings the girl to the club. Her name is Nadja and she is obviously in love with him. She is taller than me, thin, slightly stooped and with an uneven, sloppy expression on her face, as if she lives too much for other people, so she never has time for herself. I really like her. She works at a garden center and she lives with her father, who is Russian and divorced. She invites me over, and I go to visit, after telling Viggo F. about her. Their apartment is large and grand, and Nadja entertains me with stories about Piet Hein while we drink tea. She says that he likes to have two girlfriends at once. When she first got to know him he was married, and he made sure that she became friends with his wife before he left her. But they aren’t friends anymore. It’s just something he cooked up, says
Nadja calmly. She asks me about my life and suggests I get divorced from Viggo F. That idea had also just occurred to me. I tell her about our nonexistent sex life, and she says it’s a sin and a shame that he has doomed me to childlessness. You should get advice about it from Piet, she says. As long as he’s hot for you, he’ll do anything you ask.
So I do that, one evening while we’re standing quietly by the canal, the water sloshing against the wharf with a soft, lazy sound. I ask Piet how a person gets divorced, and he says that he’ll take care of all the practical matters. All I have to do is tell my husband. Piet says he’ll pay for me to live in a boarding house, and that he’ll take better care of me than Viggo F. does. I say, I might be able to support myself; I’m writing a novel. I say this matter-of-factly, as if I have written twenty novels and this is just number twenty-one. Piet asks me if he can read it, and I say no one can read it until it’s finished. Then he asks if he could invite me over to his place for dinner one night. He lives on Store Kongensgade in a little apartment, where he set himself up when he got divorced. I say yes, and then I tell Viggo F. that I’m going out to visit my parents. It’s the first time I’ve lied to him, and I feel ashamed when he believes me. Viggo F. is sitting at his desk, laying out Wild Wheat. He’s cutting out drawings, stories and poems from the proofs, then gluing them into the pages of an old issue. He does this so delicately, and his whole body, with the big head bent beneath the green lamp, radiates something resembling happiness, because he loves that journal the way other people love their families. I kiss him on his soft, damp mouth and suddenly I get tears in my eyes. We have something together – not much, but something – and now I am starting to destroy it. I’m sad that my life is about to get complicated as never before. But I also think how strange it is that I never go against what anyone else wants; not really. I might be home a bit late, I say. My mother isn’t feeling well. So don’t wait up.
The Copenhagen Trilogy: Childhood; Youth; Dependency Page 20