Now, as he lies in bed listening, he knows that the coming days will be calm. His father will lie motionless in his bed before he finally gets up, pulls on his rough work clothes, and heads out into the forest again, where he cuts trees for Iggesund or Marma Långrör.
Neither father nor son will utter a word about the night-time scrubbing. For the boy in the bed it will fade like a malevolent apparition, until he again awakes in the night to the sound of his father scrubbing away his demons.
But now it is February 1956. Hans Olofson is twelve years old, and in a few hours he will get dressed, munch a few slices of rye bread, take his knapsack and head out into the cold on his way to school.
The darkness of night is a split personality, both friend and foe. From the blackness he can haul up nightmares and inconceivable horrors. The spasms of the roof beams in the hard frost are transformed into fingers that reach out for him. But the darkness can also be a friend, a time in which to weave thoughts about what will come, what people call the future.
He imagines how he will leave this lonely wooden house by the river for the last time, how he will run across the bridge, disappear past the arches of the bridge, out into the world, almost all the way to Orsa Finnmark.
Why am I who I am? he thinks. Why me and not somebody else?
He knows precisely the first time that he had this crucial thought. It was a bright summer evening, and he was playing in the abandoned brickworks behind the hospital. They had divided themselves into friends and enemies, hadn't defined the game any more than that, and they alternately attacked and defended the windowless, half-razed factory building. They often played there, not just because it was forbidden, but because the building provided endlessly adaptable stage sets for their games. Its identity was forgotten, and with their games they lent constantly changing faces to the ruin. The dilapidated brickworks was defenceless; the shadows of the people who had once worked there were no longer present to protect it. Those who played there ruled. Only seldom did a bellowing father come and drag his child away from the wild game. There were shafts to plunge into, rotten steps to fall through, rusty kiln doors that could slam shut on hands and feet. But the boys playing there knew the dangers, avoided them, and had explored the safe paths through the endless building.
And it was there on that bright summer evening, as he was lying hidden behind a rusty, collapsed brick kiln, waiting to be discovered and captured, that he had asked himself for the first time why he was who he was and not someone else. The thought had made him both excited and upset. It was as if an unknown being had crept into his head and whispered to him the password to the future. After that, all his thoughts, the very process of thinking, seemed to come from a voice that was external, that had crept into his head, left its message, and then disappeared.
On that occasion he left the game, sneaked away from the others, vanished among the fir trees surrounding the dead brickworks, and went down to the river.
The forest was quiet; the swarms of mosquitoes had not yet taken over the town, which lay where the river made a bend on its long journey to the sea. A crow squawked its loneliness at the top of a crooked fir and then flapped away over the ridge where Hedevägen wound its way to the west. The moss under his feet was spongy. He had grown tired of the game, and on his way to the river everything changed. For as long as he had not established his own identity, was just somebody among all the others, he had possessed a timeless immortality, the privilege of childhood, the most profound manifestation of childishness. At the very moment that the unfamiliar question of why he was who he was crept into his head, he became a definite person and thus mortal. Now he had defined himself; he was who he was and would never be anyone else. He realised the futility of defending himself. Now he had a life ahead of him, in which he would have to be who he was.
By the river he sat down on a rock and looked at the brown water slowly making its way towards the sea. A rowboat lay chafing at its cable and he realised how simple it would be to disappear. From the town, but never from himself.
For a long time he sat by the river, becoming a human being. Everything had acquired limits. He would play again, but never the same way as before. Playing had become a game, nothing more.
Now he clambers over the rocks on the riverbank until he can see the house where he lives. He sits down on an uprooted tree that smells of rain and dirt and looks at the smoke curling out of the chimney.
Who can he tell about his great discovery? Who can be his confidant?
He looks at the house again. Should he knock on the draughty door to the ground floor flat and ask to speak with Egg-Karlsson? Ask to be admitted to the kitchen where it always smells of rancid fat, wet wool, and cat piss? He can't talk to Egg-Karlsson, who doesn't speak to anyone, just shuts his door as if he's closing an eggshell of iron around himself. All Hans knows about him is that he's a misanthrope and bull-headed. He rides his bicycle to the farmhouses outside town and buys up eggs, which he then delivers to various grocers. He does all his business in the early morning, and for the rest of the day he lives behind his closed door.
Egg-Karlsson's silence pervades the house. It hovers like a mist over the neglected currant bushes and the shared potato patch, the front steps, and the stairs to the top floor where Hans lives with his father.
Nor does he consider confiding in old lady Westlund who lives across from Egg-Karlsson. She would sweep him up in her embroidery and her Free Church evangelism, never listening to him, but proceeding at once to fling her holy words at him.
All that remains is the little attic flat he shares with his father. All he can do is go home and talk to his father, Erik Olofson, who was born in Åmsele, far from this cold hole in the interior of melancholy southern Norrland, this town that lies hidden away in the heart of Härjedal. Hans knows how much it hurts his father to have to live so far from the sea, to have to make do with a sluggish river. With a child's intuition he can see that a man who has been to sea can never thrive where the dense, frozen grey forest conceals the open horizons. He thinks of the sea chart that hangs on the kitchen wall, showing the waters around Mauritius and Réunion, with a glimpse of the east coast of Madagascar on the fading edge of the chart, and the sea floor indicated in places, its inconceivable depth 4,000 metres. It's a constant reminder of a sailor who wound up in the utterly wrong place, who managed to make landfall where there wasn't any sea.
On the shelf over the stove sits a full-rigger in a glass case, brought home decades ago from a dim Indian shop in Mombasa, purchased for a single English pound. In this frigid part of the world, inhabited by ice crystals instead of jacarandas, people have moose skulls and fox tails as wall decorations. Here it should smell of sour rubber boots and lingonberries, not the distant odour of the salty monsoon sea and burned-out charcoal fires. But the full-rigger sits there on the stove shelf, with its dreamy name Célestine. Long ago Hans decided that he would never marry a woman who wasn't named Célestine. It would be a form of betrayal; to his father, to the ship, to himself.
He also senses a murky connection between the full-rigger in its dusty case and the recurring nights when his father scrubs out his fury. A sailor finds himself driven ashore in a primeval Norrland forest, where no bearings can be taken, no ocean depths sounded.
The boy senses that the sailor lives with a stifled cry of lamentation inside. And it's when the longing grows too strong that the bottles end up on the table, the sea charts are taken out of the chest in the hall, the seven seas are sailed once more, and the sailor metamorphoses into a wreck who is forced to scrub away his longing, transformed into hallucinations dissolved in alcohol.
The answers are always found in the past.
His mother disappeared, was simply gone one day. Hans was so little then that he has no memory either of her or of her departure. The photographs that lie behind the radio in father's unfinished logbook, and her name, Mary, are all he knows.
The two photographs instil in him a sense of dawn and cold. A round
face with brown hair, her head tilted a little, maybe a hint of a smile. On the back of the photographs it says Atelier Strandmark, Sundsvall.
Sometimes he imagines her as a figurehead on a ship that was wrecked in a heavy storm in the southern seas and has since lain on the bottom in a watery grave 4,000 metres down. He imagines that her invisible mausoleum lies somewhere on the sea chart that hangs on the kitchen wall. Maybe outside Port Louis, or in the vicinity of the reef off the east coast of Madagascar.
She didn't want to leave. That's the explanation he gets. On the rare occasions that his father talks about her departure, he always uses the same words.
Someone who doesn't want to leave. Quickly, unexpectedly she disappeared, that much he understands. One day she's gone, with a suitcase. Someone saw her get on the train, towards Orsa and Mora. The vastness of Finnmark closed in around her disappearance.
For this disappearance he can manage only a wordless despair. And he assumes that they share the guilt, he and his father. They didn't die. They were left behind, never to receive a sign of life.
He's not sure whether he misses her, either. His mother is two photographs, not a person of flesh and blood who laughs, washes clothes, and tucks the covers under his chin when the winter cold penetrates the walls of the building. The feeling he bears is a kind of fear. And the shame of having been found unworthy.
He decides early on to share the contempt that the decent town has hung like shackles around his runaway mother. He goes along with the decent people, the grown-ups. Enclosed in an iron grip of constancy they pass their life together in the building where the beams scream out their distress during the long drawnout winters. Sometimes Hans imagines that their house is a ship that has dropped anchor and is waiting for the wind to come up. The chains of the elkhounds out by the woodshed are actually anchor chains, the river a bay of the open sea. The attic flat is the captain's cabin, while the lower flat belongs to the crew. Waiting for the wind takes a long time, but occasionally the anchors are hauled up from the deep. And then the house sets off under full sail to race down the river, saluting one last time where the river bends at the People's Park, before the wind carries them away. Towards an Away that doesn't entail a return.
In an attempt to understand, he creates for himself the only rational explanation for why his father remains in this parched town, every day grabbing his tools and heading out into the forest that prevents him from seeing the ocean, or taking a bearing, or gazing at distant horizons.
Out there, he chops down the forest. Plodding through the heavy snow, chopping down tree after tree, stripping the bark from the trunks and slowly opening the landscape to the endless horizon. The sailor driven ashore has set himself a task – to clear a path back to a distant shoreline.
But Hans Olofson's life is more than just melancholy motherlessness and a woodcutter's bouts of alcoholism. Together they study his father's detailed world maps and sea charts, go ashore in ports his father has visited, and explore in their imagination places that still await their arrival. The sea charts are taken down from the wall, rolled out, and weighted down with ashtrays and chipped cups. The evenings can be long, because Erik Olofson is a good storyteller. By the age of twelve Hans possesses an exhaustive knowledge of places as distant as Pamplemousse and Bogamaio; he has glimpsed the innermost secrets of seafaring, mysterious ships that vanished in their own enigma, pirate captains and sailors of the utmost benevolence. The secret world and the construct of regulations, so difficult to grasp, with which trading companies and private shippers have to live and comply, he has stratified in his mind without fully understanding them; yet it is as though he has touched on a great and decisive source of wisdom. He knows the smell of soot in Bristol, the indescribable sludge in the Hudson River, the Indian Ocean's variable monsoons, the threatening beauty of icebergs, and the rattle of palm fronds.
'Here the wind murmurs in the trees,' says Erik Olofson. 'But in the tropics there is no murmuring. The palm leaves rattle.'
He tries to imagine the difference, striking his fork against a glass, but the palms simply refuse to clatter or rattle. They still murmur in his ears, like the firs he is surrounded by.
But when he tells his teacher that palms clatter and that there are water lilies as big as the centre circle on the ice-hockey rink outside the elementary school, he is ridiculed and called a liar. Red in the face, Headmaster Gottfried comes storming out of the musty office where he quells his distaste for teaching by imbibing vermouth assiduously. He grabs Hans by the hair and threatens him with what happens to anyone who is on an excursion to the land of lies.
Afterwards, alone in the schoolyard in the spotlight of derision, he decides never again to share any of his exotic knowledge. In this hellhole of filthy snow and wooden houses, no one understands a thing about the truths that must be sought at sea.
His eyes red and swollen, he comes home, boils potatoes, and waits for his father. Maybe this is when he makes his decision. That his life will be an unbroken journey. Standing over the pot of potatoes, the holy spirit of his journey takes possession of him. His father's smelly rag socks hang on the stove.
Sails, he thinks. Patched, mended sails ...
That night, as he lies in bed, he asks his father to tell him one more time about the water lilies on Mauritius. And he falls asleep, assured that Headmaster Gottfried will burn in hell for not believing a sailor's report.
Later that evening, Erik Olofson drinks his coffee, sunk in the rickety chair next to the radio. He lets the waves of the ether hiss softly, as if he doesn't really want to listen. As if the hissing is message enough. The breathing of the sea, far away. The photographs burn in the logbook. All alone, he must guide his son. And no matter how much he reveals to the boy, the forest still seems to tighten around him. Sometimes he thinks that this is the true great defeat of his life, that despite everything he endures.
But for how long? When will he splinter, like a glass that has been heated for too long?
The ether waves hiss and he thinks again about why she left him, left their son. Why did she act like a man? he wonders. Fathers are the ones who leave and disappear. Not mothers. Least of all after conceiving a precise and premeditated plan of escape. How much about another person can you ever understand? Especially someone who lives close to you, in the inner circle of your own life.
In the pale light of the radio Erik Olofson tries to comprehend.
But the questions return, and the next evening are still hanging on their hooks. Erik Olofson tries to force his way into the core of a lie. Tries to understand, tries to endure.
Finally both of them are asleep, the sailor from Åmsele and his twelve-year-old son. The beams writhe in the midwinter darkness. A lone dog runs along the river in the moonlight. The two elkhounds lie curled up next to the stove in the kitchen, shaggy, with ears that prick up and fall again as the beams scrape and complain.
The house by the river sleeps. The dawn is far off on this night in Sweden in 1956.
Chapter Three
He can recall his departure for Africa like a dim shadow play.
He imagines the memories he bears to be a forest which was once open and clean, but which has become more and more overgrown. He has no tools for clearing the brush and scrub in this landscape. The growth of his memories is constant, the landscape harder and harder to take in.
Still, something does remain of that early morning in September 1969 when he left all his horizons behind and flew out into the world.
The Swedish sky was heavy that morning. An endless carpet of rain clouds hung over his head as he boarded an aeroplane for the first time. As he walked across the tarmac the damp seeped through his shoes.
I'm leaving Sweden with wet socks, he thought. If I ever make it to Africa I might bring along an autumn greeting in the form of a cold.
On the way to the plane he had turned around, as if someone might be there after all, waving goodbye to him. But the shadowy grey figures on the roof terrace of Ar
landa didn't belong to him. His departure was noticed by no one.
The Eye Of The Leopard Page 2