In A Dark Wood

‘Under which official?’

The man straightens, arranges his features into what he doubtless considers to be an official, representative expression, and says in a measured tone: ‘The government is not a person.’

‘You …’

‘I advise you to register a complaint about the tenancy, or a request to have what you believe is your property returned to you. Signature by the legal owner … Noah, D … is required. That is all. I have other things to do. If you will excuse me.’

And less than fifteen minutes later, thrown out by two burly farmhands retrained as clerks, who have no trouble dealing with such a thin little yid, he jumps on the bike that isn’t his bike

and cycles

and cycles

and cycles

and cycles and as he cycles and his heart thumps between his ears and the blood presses behind his eyes, the image of the shop comes back, as the shop was when he came back from Amsterdam God knows how in the middle of the second year of war to that godforsaken bloody hole because he couldn’t sleep for worrying about his parents and walked from the station to the square his whole body bent over the star on his jacket and there in the square found windows boarded over and a door that wasn’t locked and inside, where shoes and boxes and an unimaginable quantity of papers were scattered over the floor and the smell of old air still lingered, there, having walked upstairs, through the empty rooms, and back down again, in the half-plundered shop, on a chair that he had first had to pick up and set upright, it became clear to him that his parents and his brother weren’t there any more, and it had grown dark behind the windows that looked out onto the square, the roofs standing out sharp-edged against the lacerating blue light, a late bird shooting across the even surface of the sky and on his chair, a straight-backed dining-room chair with an embroidered seat, he had hidden his face in his hands and …

everything

everyone

The door to the shop is shut now, but he feels no hesitation and lifts his right leg and kicks just under the lock and as the door flies open he himself goes flying in.

‘What …’

He takes his only souvenir of the whole bloody war out of his jacket pocket, surprised at the weight of the black metal in his hand, and presses the barrel of the pistol against AryanBookshopHilbrandts’ temple as he grabs him by his thin tie and brings the bewildered shopkeeper’s pale, mousy head close to his own.

‘You,’ he says, panting like a god giving birth to one of his creations. ‘Out.’

And, suddenly fluent, but still hoarse: ‘Otherwise I’ll blow a hole in that Nazi head of yours, AryanBookshopHilbrandts.’

He lets the man go and pushes him back, sending him crashing into a bookshelf.

Silence falls, an after-a-lot-of-shouting silence, the sort in which the memory of noise from a moment ago still rustles.

The man against the bookshelf rolls his eyes, a little thread of spit runs from the right-hand corner of his mouth and his head twitches back and forth as he stares at the barrel of the pistol that hovers in front of his face. Jacob Noah’s gaze is fixed on him as though his gaze were part of the other man’s body, as though he … the other man is … he feels that … he him … and suddenly he feels in his chest a painful sort of human sympathy, a searing sense of compassion, a sudden switch of identity in which he is the other one and the other one is him and in an infinitesimally tiny moment knows with unshakeable certainty that the other man will never feel that, has never felt that, and while he tries to grasp that absurd sentiment (why he … such a … ) his gaze slides down to the Aryan bookseller’s crotch.

A dark patch is spreading slowly outwards from the level of AryanBookshopHilbrandts’ sexual organs.

Jacob Noah lowers his wartime souvenir, shakes his head and averts his gaze.

To say that the shop doorbell echoes for several minutes in the empty space where the walls silently rise with Dutch-nationalist books and a poster showing the portrait of a Teutonic hero looks down on him would be an understatement. It takes years, many years, decades. He will still hear it when he is married to the daughter of the farmer in whose peat bog, on whose outstretched land he lived. He still hears it when he leaves the farmer’s daughter, the sixties are coming to an end and the modern world is still busy forcing its way through to the little town, when he himself is going through the divorce that isn’t a divorce (because he leaves her, but doesn’t officially get divorced from her) and which excludes him from the town’s inner circle. The bell echoes as he doubles the shop in size, and later does the same thing again, and finally transforms it into the best fine lingerie shop in the whole damned province, where till he turned up they’d been walking around in knitted underpants and grey bloomers. The bell tinkles at night, when he wakes from black and lonely sleep with his brother’s name on his lips, when his children are born, grow up and leave home. Even when he is sitting in his car on Friday, 27 June, and the setting sun shines over the treetops onto the glass of the windscreen, even then the bell still rings. Throughout the whole of the rest of his life, its high points and its lows, when he’s sitting alone in the shop one evening looking at the walls of bras and corsets and slips and step-ins, and he feels a plan welling up in him that will change the entire centre of this accursed hole (whereby he will harvest the glory that he expects and the subsequent abuse that he just as fully expects), when he is walking with a sexton through the attic of what was once the synagogue and is now the Reformed church, and finds in a rubbish bag the lost archive of the Jewish community and sees all those names and all those faces before him again – the musty smell of old paper containing the dust of half a century, the dust that touched them – and when he is rejected as a member of the business club because he doesn’t live with his wife just as his father was rejected by the business club because he wasn’t a Christian, for the whole of the rest of his life after that one day in the empty shop the bell will go on tinkling.

It’s the bell that tells him: everything is nothing.

Silence falls like dust, the dust itself falls, the rising and falling of his chest settles, his breathing grows slower, his heart resumes its old rhythm. He is standing in the shop, a black pistol in his hand and the vague pain of too many thoughts behind his brow, and as he stands there and brings his free hand to his face and presses his thumb into his left eye socket, against his nose, and his middle finger into his right eye socket and his index finger to his forehead and thinks and thinks and thinks, he sees his future crumbling, literally and figuratively, as if in a vision. He sees himself in a gown and jabot, his diploma in his hand, surrounded by fellow students, professors and the portraits of illustrious predecessors, and as he looks round and sees himself grinning like an idiot in his bath, a crack runs across the picture, and then another, another, a spider’s web of cracks until it looks like a painting covered with craquelé and the first bits of paint flake off and whirl down and he knows with the effortlessness of absolute certainty that his future is over before it has begun, and that evening, lying in bed above the shop, where the private apartment no longer looks like anything he has known, he stares at the ceiling, light fanning in through the curtainless windows. It’s a real bundle of rays, one after the other, as though the day has begun outside while he, in here, is getting ready for the night. He gets out of bed and, like a swimmer walking through shallow water, his feet in the dark, feels his way towards the window. There behind the pane, where the roofs of the houses and the ragged treetops of the Forest of Assen have torn the night sky from the earth, he is met by the sharp light … God yes, the sharp light of … no, not of insight, or the epiphany that comes in the blackest hour of night when the questions that otherwise seem so easily answered – analysis, synthesis, my good Mr Noah! – become bottomless pits of despair in which night-time doubt battles against the day’s cool reason with an archangel’s obstinacy; not that light, but the light that comes from a spotlight mounted on the boot of a Canadian half-track, a contraption – half truck, half tank – that looks like a car at an evolutionary crossroads. On the boot, a Canadian soldier is manipulating a kind of dustbin from which a bright white column radiates. Across the house-fronts runs a sharp-edged circle, a tree of light rises into the night air, touches the clouds and sweeps down on the other side and touches Jacob Noah behind his window. He steps back, trips over a chair and falls on the floor, and as he crashes onto the bare wooden planks of the bedroom in a billow of material, and the back of his head touches the hard wood and a cloud of stars explodes between his eyes, he sees the universe as a little cloud of milk in a cup of coffee. He opens his hand and fog whirls in the middle of his hand, he sees the slow explosion of stars, the dashing tails of comets and the steady ellipses of the planets.

And while the universe, tennis-ball-sized, hovers before his eyes, just as once the Holy Grail must have hovered before the eyes of the exhausted Parsifal, and he lies on the floor, arms outstretched, legs parted, mouth open, staring at the world like a patriarch staring at God’s angels, breath held for fear of disturbing the eddying galaxies in the hollow of his hand, he slowly pulls himself upright, his arm stretched out strangely in front of him, his eyes focused on the marbled jewel in his palm.

And then time begins to flow, rushed breathing takes hold of him, a little mist of moisture appears on his upper lip, becoming a silver moustache in the ghostly glimmer with which the bundle lights the room. Stumbling, stepping, twisting and wriggling, he drags the clothes around his limbs (because this isn’t what you would call getting dressed, shirt out of the trousers, no socks, laces loose), stumbles down the stairs, opens the back door and sets off on a creeping expedition through gardens and woods and pathways behind houses until he reaches the canal, where under the cover of the trees next to the concert hall he stands and waits until the path on the other side of the water is completely deserted, crosses, glides like a shadow along the house-fronts on Gymnasiumstraat and finally disappears on the edge of the Forest of Assen.

The moon is a piece of orange peel, visible every now and again between the floes of dark, drifting cloud-light.

…

In the deep darkness of the Forest of Assen, the forest that resembles the firmament itself with its curving, coiling, circling, fading paths, a cloudy infinity of treetops with unexpected open patches, folds and wrinkles, mirror-flat pools, ditches and brooks and canals, which still contains remains of the old woodland that once ringed the town, in that big, old forest Jacob Noah lies on last year’s crunching leaves, hooded by a dry blackberry bush, among the high oaks, under the velvety night air, and he stares at the universe in his hand. There is no thought in him, he isn’t thinking. Perhaps it looks as if he is breathing, as if blood is flowing through his veins, as though his peristalsis is pinching and kneading and his glands are doing whatever it is that glands do. But it’s all appearance. In reality he is still and motionless, caught in the image of what he is holding in his hand, just as what he holds in his hand is caught by him. His lips move, but not a word leaves his mouth. He peers into the swirling marble filling the hollow of his hand and sees …

He sees everything.

He recognises the days that have been and the days that will come. He sees his parents and his brother in their long black coats crammed tight against one another in a packed train carriage that crashes and bangs, his brother’s right hand (when he sees this for a moment he is his brother) on his father’s shoulder. He sees the three daughters he will bring forth and as he sees them grow, from babies to fine young women, their mouths open and they speak their names (the two eldest, that is, the third looks at him with her big dark eyes and already, long before she is born, she breaks his heart). He bends over his hand, Jacob Noah, just as a father bends over his child the better to hear it, and his gaze disappears in the cloudy mist. He travels and travels and travels, until he sees first the country, then the whole godforsaken province and finally the town, but a long time ago: four farmhouses and a monastery, half wood and half stone, then a fire and a new monastery, houses, new houses, avenues, a village green … A rampant mould. Until he creeps out, a mole from a hole in the bog, steals a bicycle, cycles

and cycles

and cycles,

the whole long straight road along the canal, he raises a pistol, sees the light, and there is the wood in which he, on last year’s crackling leaves, in the hood of a dry blackberry bush, between the high oaks, under the velvety night sky, bends over his hand and stares into his own face.

The years blow around him like autumn leaves.

Chapter 2 (#ulink_6b3ade9c-20f8-521d-a72f-f7fef8cc5640)

Summer comes, and autumn. Days pass, months fly by. He clears up the shop and buys in goods. He gets bread from the baker and vegetables from the greengrocer. In the evening he stands in the kitchen holding a cauliflower in his hand, staring at it as Hamlet stared at Yorick’s skull, and as the water comes to the boil and the steam clouds the window, he shakes his head and drops the vegetable into the bin. He goes to bed. He gets up again. He butters sandwiches on the cracked granite surface and chews them standing up, looking out of the kitchen window over the roofs of the town towards the houses, the little factories, a school and the stump of an old windmill. A mind that is empty from early morning till late evening. A life that is nothing but movement, day in, day out. And every morning and every evening, in his kitchen, by the window, looking out over the town, he wonders what it is that he sees, this jumble of roof tiles, these angles and curves and diagonal lines, the rhythmic skip of saddle, pointed and flat roofs. And the days pass. And the months pass. Years go by. Five years. As if he is giving himself time to despair. Five years. Five years in which he doesn’t eat a cauliflower, but does fry eggs, puts shoes in boxes and takes them out again, years in which he shaves and doesn’t see himself in the mirror, eats an omelette at the same empty dinner table at which he goes through Red Cross lists in the evening, writes letters and collects information. For five years in which at night, bobbing in an endless sea of emptiness, he wakes up, gets dressed and walks through the dark, silent streets of the empty town, to the station, where he crosses the rails and, shoulders hunched in his jacket, looks out from the platform – the steaming fields, the water tower dripping tap-tap-tap on the rails, the melancholy lowing of a cow in the pasture of the farm on the other side – years and nights in which he watches the rails, gleaming in the moonlight, disappearing into the distant darkness among the trees.

And then, after those five years, the contractor’s men come. They demolish half the top floor, break down the shop shelves and saw and hammer and lay bricks, and after five weeks, because everything seems to be in fives at this time, he stands in a shoe shop ready for a future that won’t begin for a long time and living in a house in which all traces of the past have been expunged, because he hasn’t just turned the en-suite bedrooms with stained-glass doors into a big sitting room and combined and converted the many little bedrooms on the first floor so that there are now four big bedrooms and an ample bathroom, he’s also got rid of the curtains, the carpet, the tables and the cupboards and the chairs. Everything is new, nothing is as it was.

It’s 1950. Jacob Noah has shed his past the way a fox gnaws off the foot that got it caught in the trap. The future lies before him like a blank sheet of paper.

But it changes nothing.

The past doesn’t pass.

The path towards a stirring future lies before him, open like the first page of a book whose story has yet to begin and could go on for thousands, hundreds of thousands of pages.

But still.

In the morning he stands in the doorway and looks out over the quiet crossroads and in the evening he stares out of the window over the rooftops, and although he barely wakes up at night these days and he has completely stopped walking to the station to wait for travellers who don’t come, he often lies down in bed wondering what he’s done wrong, how things could be different, what the problem is.

He begins to doubt what he saw in the forest when he saw the whole world in the palm of his hand.

In the evening he sits bent over his old schoolbooks at the dining-room table and over his middle-school Latin lessons he dreams of lecture theatres and learned discussions with professors.

How it could have been.

How it should have been.

Then – one evening by the yellow light of the standard lamp by the bookcase that holds not much more than what he has kept from his schooldays and the first volume of the encyclopaedia he subscribed to not that long ago. He drinks his coffee, and although the open accounts book on the dining table gleams in the lamplight, he starts flicking through part of the Encyclopaedia Britannica. He has never felt the need to travel, he has never been further than Amsterdam, but in the encyclopaedia he travels over continents and through whole eras and cultures. That evening, as he flicks through his first and only volume, his thoughts catch on the word ‘Atom’, and as he reads about Rutherford and Szilard the image of the atom comes and hovers in his mind: a nucleus with a cloud of electrons floating around it, attracted by the mass of the nucleus and at the same time almost escaping because of their velocity; and suddenly he thinks about the town as he sees it in the morning and the evening, the roofs and their pattern of kinks and bumps and, yes: paths.

He wonders where the nucleus is.