Praise for The Seducer:

‘An enormously accomplished and compelling novel by one of Scandinavia’s outstanding contemporary writers. Barbara J. Haveland and Arcadia Books have performed a great service by giving us Kjærstad in English at last’

– Paul Auster

‘One of the most influential writers of his generation. Say his name, and I think of Milan Kundera, Martin Amis and Frank Zappa. The Seducer is a playful book’

– Linn Ullmann

‘A tour de force about a famous film maker’s career and sexual adventures’

– Publishing News

‘Norwegian, perhaps all Scandinavian literature, can never be the same after The Seducer’

– Nordisk Literatur

Jan Kjærstad

The Seducer

Translated from the Norwegian
by Barbara J. Haveland

Publisher’s Foreword

We make no secret of the fact that the novel the reader now holds in his or her hand proved to be something of a headache for the judges of our major competition to find the best biographical novel. Not only was this manuscript the most topical – and by far the most controversial – of all the many manuscripts submitted, but when, after lengthy deliberation, the judges did decide to present the award to this novel and opened the envelope containing the winning name, they found that the author preferred to remain anonymous and that any eventual prize-money, and any other fees, were to be paid into a bank account in the name of a small but well-known humanitarian organization.

The question of literary merit aside, that we the publishers have had to consider whether the manuscript ought, in fact, to be published in book form, in line with the other two prize winners, was due, of course, to the extraordinary and much publicized events which form the basis for the novel – and, even more so, the grim sequel to said events of which, by the way, no mention is made in the novel. The fact that this book has been published serves, not least, as a reminder that in Britain freedom of speech is a constitutional right. Nonetheless, in an effort to forestall any unnecessary debate, we would like to point out that the publishing house’s legal advisors have gone through the manuscript, and, since a number of names which appear in this novel correspond to those of real people, copies of the manuscript have been passed to those individuals who might feel injured or offended by its content. We would like to make it clear that in every case – although for quite different and sometimes surprising reasons, to be sure – they have given their permission for this book to be published.

Although the following account is founded on biographical facts, the validity of which can be checked by anyone so minded, it is just as manifestly a novel, allowing all of the liberties and the possibilities offered by that genre. We the publishers wish to emphasize that this is, in the final analysis, a piece of fiction, the ‘truth’ of which it will be up to the reader to decide.

A brief notandum: several of the judges remarked on a certain linguistic inconsistency in the manuscript. We the publishers have not, however, made any alterations to the text, other than the correction of purely orthographical errors, not because the author is unknown but because in the case of such competitions we elect to publish the manuscripts as they stand.

The Big Bang

Let me tell you another story. Although I do not know whether that is possible, not after all that has been written and said, but at any rate let me try. I have balked at it for long enough, I admit. I have put it off and put it off. But I have to do it. Knowing full well that this will sound unutterably provocative and appallingly high-flown, I will be straight about it: I do it not only for myself but for the whole of Norway.

I realize there are many people who believe they know everything there is to know about Jonas Wergeland, inasmuch as he has risen to heights of fame which very few, if any, Norwegians have ever come close to attaining and been subjected to so much media exposure that his person, his soul as it were, has been laid open as strikingly and in as much detail as those ingenious fold-out illustrations of the human body presented for our delectation in today’s encyclopaedias. But it is for that very reason, precisely because so many people have formed such hard-and-fast opinions about Jonas Wergeland, or Jonas Hansen Wergeland as his critics liked to call him, that it is tempting, even at this point, to say something about those sides of his character which have never come to public attention and which should serve to shed considerable new light on the man: Jonas Wergeland as the Norwegian Tuareg, Jonas Wergeland as a disciple of the Kama Sutra, as champion of the Comoro Islands and, not least, as lifesaver.

But to begin in medias res, as they say, or in what I prefer to call ‘the big white patch’, representing as it does a stretch of terrain of which Jonas Wergeland – all of his fantastic journeys notwithstanding – was totally ignorant, and which he would spend the remainder of his life endeavouring to chart.

It all started with Wergeland asking the taxi driver, who had been stealing curious, almost incredulous, glances at him in his rear-view mirror all the way into town, to stop at the shopping centre, just where Trondheimsveien crosses Bergensveien, a spot where Jonas had stood on countless occasions, contemplating the way in which all roads in the world are connected. Although he could not have said exactly why, Jonas wanted to walk the last bit of the way to the house, possibly because the light that evening was so enchanting; or because it was spring, the air smelled of spring, spring to the very marrow; or because he was glad that the plane journey was over, filled with a sense of relief at having cheated Fate yet again. Which brings me to another fact known to very few: how much Jonas Wergeland, globetrotter, hates flying.

Wergeland was returning home from the World’s Fair in Seville, but he was now making his way across ground which, for him, had every bit as much to offer as any World’s Fair, representing as it did that spot on the Earth’s crust which was closest to his heart. He strolled along, wheeling his lightweight suitcase behind him; breathing in the spring air as he let his eye wander over the climbing frame in his old kindergarten and beyond that to the stream down in the dip: the Alna, a stream up the banks of which he and Nefertiti had made countless expeditions, with Colonel Eriksen on a leash and an airgun over the shoulder, in search of its beginnings, which had long posed a mystery as great as the sources of the Nile once did. He walked past the old Tango-Thorvaldsen shoe shop, to which annual visits had had to be made: a sore trial to Jonas these, both because his mother could never make up her mind and because the shoes were always too big, agonizingly so, even after they were long worn out. It was spring, the air smelled of spring to the very marrow, and Jonas passed Wolfgang Michaelsen’s villa where he could almost hear the swooshing of the Märklin trains over the tracks of what must have been the biggest model railway in Northern Europe. Jonas strolled along, trailing his suitcase, smelling, listening, drawing the air deep down into his lungs; seeing in the twilight the coltsfoot, like tiny sparks of yellow growing along the side of the road and up the slope towards Rosenborg Woods, which they had used to call ‘Transylvania’, because they had had to cut across this bit of ground after the spine-chilling Dracula films they saw, far too young, at film shows in the People’s Palace. It was spring, the air smelled of spring, and Jonas was feeling extraordinarily fit and well, free, thanks to the air, thanks to the fact that the plane journey was over, or perhaps because straight ahead of him he had the low blocks of flats where he had grown up, or because on the other side of the road he could see his own house, popularly referred to as Villa Wergeland, sitting under the imposing granite face of Ravnkollen, in such a way that he sometimes felt protected, sometimes threatened by the very bedrock of Norway.

Jonas Wergeland turned in through the gate, trailing his suitcase. It was spring, the hillside smelled of spring, as did the air. It had that edge to it, Jonas noted: chill but bordering on the mild. He felt light, full of anticipation; he was happy, genuinely glad at heart to be home. The only thing causing him a twinge of unease was a touch of incipient nausea as if he might have eaten something dodgy on the plane.

He rang the bell, just in case anyone was home. No one came to the door. He let himself in, left his bag of duty-free and his suitcase in the hall before wandering into his office and sifting through the considerable pile of mail that had accumulated. Many of the letters were from people he did not know. Fan mail. He picked up the bundle of letters to read in the living room, to enjoy them, have a good laugh and roll his eyes at the weird notions that people had, their clumsy questions, then it occurred to him that he had better play back the messages on his answering machine. The first was from Axel Stranger: ‘If your Grace would be so good as to call me. Concerning a trivial matter which cannot wait: namely the future of mankind.’

Jonas could not help but laugh, switched it off, he could listen to his messages later, now he just wanted to relax, open some of the precious booty from his duty-free bag, stretch out on the sofa, listen to music, look at a couple of letters, let his mind wander. He glanced towards the door of Kristin’s room. The bed was neatly made, cuddly toys and dolls all in a row; he concluded that she must still be with her grandmother, down at Hvaler.

Jonas headed for the living room with a smile on his lips, flicking through the bundle of letters in his hand, inspecting the handwriting on one while wondering what sort of music he should play. He was relieved to be back home, he was filled with a great sense of contentment: a feeling that might be described, to use a rather lofty word, as peace.

So there he stood, with one hand on the handle of the living-room door, Jonas Wergeland, the first artist of note in his field in Norway, the man with a silver thread running down his spine, balls of gold and, as someone put it in a newspaper article, a brain as sharp and polished as a great diamond; Jonas Wergeland stood there, feeling well pleased. Behind him lay a successful trip, one which had, what is more, given rise to a number of original ideas of which the people of Norway would reap the benefit in the not-too-distant future. And he had every reason to feel pleased with himself, no one could blame him for that; anyone in his shoes would have been pleased with themselves. Jonas Wergeland did not only have everything, he was everything, one might even go so far as to say that he ranked second only to the king. No wonder then that for many years he had referred to himself, in his head, as the Duke.

Jonas Wergeland stood with his hand on the handle of the living-room door in his own home and was instantly conscious of the metal itself, its coldness; he contemplated the brass, the little scratches on the surface. Again he was aware of that vague but distinct nausea, a surge of nausea. Suddenly he remembered the three loaves lying on the kitchen worktop, the fact that there had been no smell of new-baked bread when he walked in.

Jonas Wergeland stood with his hand on the door-handle and was filled all at once with a desire to stay just there for a long, long while, had no wish to enter the room, stood there knowing, like someone who has stepped on a mine, that he would be blown sky-high the moment he raised his foot. But he had to. He took stock as it were, recapitulating the whole of his remarkable career in the blink of an eye as if he knew he was about to suffer a dreadful loss of memory, before turning the handle, opening the door and pulling up short on the threshold. The first thing he noticed was a distinct smell, the sort that hangs in a room where the television has been left on for days on end. Then his eye fell on the picture of Buddha, before alighting on the figure lying on the living-room floor, a woman. She looked as though she was asleep, but Jonas knew she was not sleeping.

So there he stood, Jonas Wergeland, as so often before, at the end of a long, hard journey, a wave of nausea building up inside him, on the threshold of his own living room, in the most famous villa in Grorud. And I might as well reveal right here and now that here lies the heart of my story: Jonas Wergeland, standing in a room with a dead woman, caught in the colossal psychological big bang that gave birth to the universe which, in the following account, I intend to explore.

For those who do not know, I ought perhaps to add that the woman on the floor was none other than his wife.

Everything Flows

Once more he was thrown into the vortex, as they picked up speed and were drawn relentlessly onwards into the next stretch of rapids to suddenly find themselves caught up in an inferno of white water and whirlpools as if they were riding a tidal wave or had been swept away by an avalanche, and it was all happening too fast, Jonas felt, far too fast, he had no time to latch onto the details and already had that feeling of nausea, that ghastly nausea that always hit him when he had flown too high, when everything was reduced to the grotesque. Jonas Wergeland sat, soaked to the skin, in a frail rubber dinghy with more or less sheer walls of rock flying past on either side: concentrating, amid all the thoughts whirling around in his head, solely on keeping a tight grip on the rope running around the rim, while flattening himself against the bottom like a terrified bird in the nest. Everybody has to die sometime, he thought to himself, and now it’s my turn.

Jonas cursed himself for being there, crouched on his knees as if in prayer, hanging on for dear life on this ride with death, at the bottom of a narrow gorge with only a thin layer of rubber between him and the rapids’ seething embrace, when he could have been lounging on the hotel terrace, sipping a highball and contemplating the weird assortment of hotel guests from every corner of the globe, maybe picking out an Ellington number on the piano, drawing applause from lethargic Swedish aid workers in desperate need of a bit of R and R. Or he could have done something sensible and, above all, perfectly safe, and taken a walk up to the dusty, neglected museum to gen up on the geology and history of the region, in a room right next door to Livingstone’s letters and measuring instruments and his partially mauled coat.

But instead, on an October morning in the mid-eighties, he had dutifully presented himself at the pool along with the others, to be briefed by a sun-bronzed smart-arse who took full advantage of the rather tense atmosphere, dishing out flippant bits of advice and telling macabre jokes, about the fearsome ‘stoppers’, for instance: a sort of vertical wave, usually occurring at the bottom of a stretch of rapids, which could drag a man under and keep him down there for ages. So it was with some misgivings that Jonas had filed along behind the others later on, as they clambered down the steep path to the bottom of the gorge through which the Zambezi continued its seething progress after the falls, zigzagging through deep and uncannily narrow canyons. The light was dazzling, the air as full of powerful odours as a chemist’s shop and humming with insect life. Halfway down the native bearers made tea for them and even sang a few songs, seeing to it that the party acquired a little local colour into the bargain.

Down by the river itself, at the point where they were to board the rafts, Jonas stood for a moment listening to the roar of the falls farther up, millions of litres per second thundering downwards into an inferno of a chasm, a phenomenon so daunting and yet so fascinating that he could see why some of the natives imbued it with divine significance, believing this to be the wellspring of the world. And indeed they were surrounded by a strange almost unreal landscape which left one with the very distinct impression that man had no business here, that this was a paradise for plants and animals and the little lizards in particular.

After yet another nerve-racking pep talk, delivered in the calmer part of the basin, they slipped slowly into the mainstream. ‘No way back!’ some wit called out as the raft picked up speed, heading down the river, which closed in relentlessly as they approached the first stretch of rapids, and right then and there Jonas knew, as one often does in the seconds after making a fatal decision, that he should not have done this, that this trip was bound to end in disaster.

There were six rafts going down together, seven people in each one, including the man at the oars who, in theory, was supposed to be an experienced oarsman. Jonas looked at their man, a not particularly muscular-looking African wearing a sly grin, and felt far from reassured. Not only that, but the rubber raft seemed somewhat the worse for wear; and the grubby yellow lifejackets they were wearing did not exactly inspire much confidence either. Jonas had a suspicion that the whole lot dated from the Second World War and had been bought on the cheap. And here I would just like to add that the sort of modern innovations which are to be found nowadays up north, in the sheltered and strictly regulated confines of Scandinavia, helmets and wetsuits and the like, were of course quite unthinkable in these parts, and indeed would have been considered utterly ridiculous.

Jonas was sitting right at the back, along with a female journalist and a photographer with his camera in a waterproof bag. On a scale of one to six these rapids were classed as a five, and thus they attracted enthusiasts from all over the world eager to try all their hearts could take of white-water rafting and daredevil games with the elements. Jonas held on tight, seeing a wave rising up dangerously high in the air ahead of them; he even took time to wonder for a moment how this could be possible, how could a killer wave shoot right up in the air like that, like a geyser, or appear to be heading straight for them, in the middle of a deep river, but his musings were cut short when the oarsman – who, thought Jonas, must be off his head – steered straight at the wave while the three at the front threw themselves forward into the column of water, then the raft was gliding up and over as if going over a big bump, while they whooped ecstatically, thereby revealing the whole object of the tour: to have fun, to flirt with danger, to switch off from some dull office job in Amsterdam or Singapore or Cape Town. According to their instructions, the three at the back, where Jonas huddled, were supposed to keep the raft level, but Jonas had no thought for anything but to hang on tight, gripping the rope running round the rim as if it were an umbilical cord of sorts, the only thing tying him to life; then, almost instinctively, he hurled a primal scream at the precipitous cliff faces, a howl that was totally drowned out by the deafening racket, or fury, of the river waters.

Jonas knew there was no way this could ever turn out well. He had to ask himself whether this whole stupid exercise, casting himself out into the fiercest rapids in the world, might not simply be the manifestation of a covert death wish, or a means of escape, that he in fact had no desire to get under way with the venture which was to alter his whole career: that he could not face the thought of all those heated discussions, not to say arguments and hard-nosed deliberations over everything from budgets to people that would have to be gone through before he could have any hope of realizing the mammoth project he had in mind. On one quieter stretch, where the terrain also opened out, seeming to allow him a breathing space, oxygen for his brain, he thought not without some qualms of all the months of planning that lay ahead of him were he to pull it off: the colossal amount of groundwork, not forgetting all the jealousy, the backbiting and intrigue he would have to put up with. So perhaps this expedition was a final test, he thought, as everything closed in and the raft was once more caught up in foaming white waters that raced between sheer rock-faces, sweeping them along the bottom of a deep gorge, because if he made it through this, survived this ride between what looked like an endless run of rocky islets ready at any minute to close up and mash him to a pulp, as in some ancient Greek epic – except that nothing would have time to close up here, with everything moving at such a crazy speed – then he might even have some chance of overcoming the Norwegian rock-face, that massive hurdle denoted by lack of imagination and pettiness and an unwillingness to think big, all of which were so much the hallmark of the management team responsible for evaluating the project to which he was now, down here, about to put the finishing touches. That may also have been why he seemed to be constantly on the lookout for something on the dark cliffs speeding past, without really knowing what: an answer, a sign.

In any case he soon lost track of what his motive might have been, since it was all he could do just to hold on tight, just to be scared, so terrified that he became more and more convinced that this white speck, these white specks of boiling water, this endless roiling would be the death of him, that at some point his good fortune was bound to desert him, that good fortune which had saved his bacon in countless tricky situations in the most bizarre parts of the world: looking down the throat of a polar bear in Greenland; on a ledge ten storeys above the ground in Manhattan; in the Sahara, lying on his back in the sand with a sword at his throat. Jonas Wergeland recognized that characteristic feeling of nausea which never failed, a sure sign that things were about to go wrong, badly wrong; that this was where his luck ran out; he was going to die here, in a sort of existential toilet: one pull on the chain and you were flushed away in a swirl of water. No good spouting paraphrases here on Darwin’s revolutionary view of a term of a hundred of million years or any of the other argumentations which he had collected in a little red book and which had smoothed his path up the ladder of success. Here, between these cliffs, at this pace, all words were laid to earth, or rather, were washed away by the water. So Jonas was scared to death, assailed by regret, but it was too late, he knew that someone was going to be tossed out into those lethal rapids, and he had a nasty sickening feeling that that someone would be him. I know I have to go sometime, he thought, but why does it have to be in such an utterly ridiculous hair-raising fashion?

I know it is hard to believe that Jonas Wergeland, so famed for his consummate sang-froid and prodigious self-assurance, for his courage in fact, could have been so afraid or had such morbid thoughts, but without in any way meaning to boast, let me make it clear once and for all, that my acquaintanceship with this man Jonas Wergeland is of a sort that I cannot expect anyone to understand, nor do I see any reason to elaborate upon it, but it does enable me briefly to recap on the following facts: Jonas Wergeland is sitting in a sixteen-foot rubber raft, racing down the rapids on the Zambezi river, knowing that someone, and most probably he himself, is going to fall in, and he is so terrified that not only is he shitting his pants and jumping out of his skin and so on and so forth – he is so appallingly frightened that, for some of the time at least, he is not really there; his mind deserts him, is out there floating on another plane, with the result that he actually succeeds, albeit involuntarily, in doing what one sometimes tries to do, although with no success, at the dentist’s, namely to think of something else entirely as the drill bores in towards the nerve in a tooth.

The Great Discoveries

Of all Jonas Wergeland’s more or less epic journeys, of all his, to varying extents, hazardous voyages of discovery, there was one which never palled, which stood as the most heroic, gruelling, groundbreaking and, not least, perilous, journey he had ever embarked upon: a journey to the interior of Østfold. This journey he made as a boy, together with Nefertiti of course and, at the moment when he set out, it ought to be said that they, or rather he, Jonas, considered this expedition to be just about as daring as sailing over Niagara Falls in a barrel, and consequently, after this, after they came back ‘to life’ as it were, he knew that anything was possible. From that point of view, Jonas could be said to have got the hackneyed theme of ‘young man sets out to see the world’ out of the way at the tender age of eight. Thanks to Aunt Laura, a lady given to chalk-white makeup, voluminous shawls and enigmatic hats, Jonas was familiar with such places as Isfahan and Bukhara, but in Jonas Wergeland’s life it was that journey to the interior of Østfold which blew his childhood universe apart.

But first let me say something about this childhood universe as it pertained to Jonas Wergeland. Philosophers and scientists are forever trying to come up with something smart to say about the nature of life – take, for example, all that artful talk about the world in a grain of sand. Not that I have any intention of depriving anyone of the illusion of being able to discover new ‘truths’, but if I might just point out that this is something which every child experiences, even if many of them do in time succeed, by the most amazing feat of erasure, in suppressing such insights. Every child inhabits all of history and all of geography in the most natural way possible. What those speculators in the meaning-of-life industry grope their way towards time and again are, in other words, merely scraps of a lost childhood.

Jonas Wergeland and his friend through thick and – even more so – thin, Nefertiti Falck, grew up in Grorud, on a community housing development with the fine-sounding name of Solhaug – Sunnyhills – six low blocks of flats sitting at the top of Hagelundveien. Here, in the north-east corner of Oslo, within a relatively small area, the whole history of Norway was exposed to view. Here lay the forest where people could live as hunters and gatherers; here, on the farms around Ammerud, one could see the shepherd and the sewer, the whole of peasant society in the flesh. And behind the blocks of flats ran Bergensveien, bearing witness to a burgeoning commercial trade, not to mention highwaymen a little further up around Røverkollen – Robbers’ Hill; Norway as an industrial nation could be studied at close quarters, both in the quarries alongside Trondheimsveien and in the textile factories along the banks of the River Alna. Grorud was one of the few places which provided an almost perfect illustration of the saying: ‘Town and land, hand in hand’. And during Jonas’s formative years, the new service industries also began to shoot sky-high, quite literally, in the shape of garish supermarkets and, not least, the Grorud shopping centre with its Babel tower block, all twelve storeys of it, with, most importantly – a real fairground attraction this – a lift. All history was there, in one small patch of ground. No one told them this, but they took it in, so to speak, with mother’s milk, through play.

And when it came to geography, Grorud was, like all other places in Norway, a result of the creative movement of the glaciers with its rivers and lakes, its fertile soil in valleys nestling between hills and steep mountainsides. The stark, almost vertical, granite face of Ravnkollen, rising up directly behind Solhaug, was a particularly dominant topographical feature, a sort of magnified version of the Berlin Wall which their mothers strictly forbade them to scale – in vain of course. Thanks to the childish imagination, the wide world, too, was to be found in nucleus in these few square kilometres: jungle, prairie, Sherwood Forest – you name it – it was all there, in miniature. In the world of childhood there is always a Timbuktu, some sort of outer limit and a Mount Everest, posing the ultimate challenge. Even the Victoria Falls were in principal anticipated at Grorud in the ‘waterfall’ down in the stream; for a child, a three-foot cascade is good enough.

On a day in mid-May, in the year in which Gagarin broke the space barrier in his own way, Jonas and Nefertiti embarked upon their great expedition to inner Østfold. It all began when Nefertiti’s father received a letter, the envelope plastered with foreign stamps and in fact addressed to an aunt whom everyone believed to be somewhere abroad. Nefertiti’s parents only had a rough idea of where she had previously lived and since the letter did not look all that important they laid it on one side, with the result that Nefertiti, who had a feeling that her aunt had returned home and that they would be able to locate her, decided to deliver the letter personally. But when Nefertiti mentioned the name of the place to Jonas he was all against the idea, since to him it sounded as alien and, not least, as daunting as any exotic name from the unreal frames of the comic strips. ‘There’s adventure to be found wherever you go,’ said Nefertiti, ‘and we can’t spend all our lives sitting on our backsides in Grorud, can we?’

So there he was, on the train, and it was strange how well Jonas was to remember that trip, the sharpness of every detail, especially from the point where the track branched, after Ski station, and headed off into the complete unknown: up to then the only place he had ever taken the train to was Frederikstad. He always remembered that expedition into inner Østfold more clearly than, let’s say, his trip to Shanghai: the moment, for example, when they crossed the River Glomma, having left behind them stations with such outlandish names as Kråkstad, Tomter and Spydeberg, and Nefertiti brought out a mouth organ. But Nefertiti did not play ‘Oh, My Darling Clementine’ or any other such tired old evergreen. No, she played ‘Morning Glory’ by Duke Ellington, no less, and she played that intricate melody beautifully on a gold, chromatic mouth organ, while they rolled along tracks flanked on both sides by black fields on which the first shoots were just starting to show; either that or spring-green meadows dotted with yellow flowers, and one with a whole herd of horses galloping across it and a gleaming white church in the background, like something Edward Hopper might have painted. She played so well, so divinely, that Jonas was able to take her cap round and collect a whole six kroner in jingling coins before they passed Mysen.

Now at this point I really ought to say something about Nefertiti, although nothing can really do her justice. She was the same age as Jonas, but unlike him, the mere sight of an ant could prompt her to point out that the ants had already evolved into at least ten thousand different species while at the same time asking Jonas why the life of human beings should be governed to such an extent by sight and sound whereas ants went wholly by taste and smell, a chemical form of communication; or she might ask what Jonas thought of a world that revolved around the woman, the female. Nefertiti had an unusually shaped head which she always concealed under a cloth cap; it was so uncommonly long at the back that Jonas sometimes wondered whether she might be from another planet. Her clothes and her appearance were pretty ordinary apart from the fact that she always wore her hair in plaits, had pearl studs in her ears and boasted the longest eyelashes in the world. These aside, Nefertiti’s most distinctive feature was her inexhaustible imagination, which ensured that no matter what she thought of or made, it was always different. She could make paper airplanes shaped like the Concorde of the future that glided endlessly through the air; she knocked together carts that made the kids from Leirhaug, the development down the road, scratch their heads and made rafts the like of which Huckleberry Finn would never have dreamed possible.

Jonas Wergeland’s first stroke of genius, albeit unbeknownst to himself, was to choose a girl as his best friend. It was Nefertiti who taught him that women are, first and foremost, teachers, then mistresses – and above all that when you come right down to it, the female is a very different and, more to the point, a much more fascinating creature than the male.

They alighted at Rakkestad, sniffed the scent of a sawmill on the other side of the railway track before walking up to the crossroads, where they stood with their backs to the Co-op, the sort of shop where you could buy anything, absolutely anything, from paintbrushes to three sorts of syrup, but which has, of course, since been pulled down, every last brick of it – in true Roman fashion, one might say – to be replaced, as in so many other places, by a standardized box of a petrol station.

So here we have Jonas and Nefertiti standing between the Central Hotel and The Corner, gazing down Storgata like two cowboys coming to a lawless town and wondering whether they dare take the chance of riding through it. Which was perhaps not all that surprising, since Rakkestad, like so many small villages the world over, does give the impression of being the sort of place one instinctively suspects to be populated by an assortment of weirdoes – people who lie in their sickbeds keeping a precise tally of their whooping-cough fits and severity of same – and the sort of half-witted, hillbilly characters who are just itching to blow you away, sitting at their windows with loaded shotguns, dribbling tobacco juice and leering and muttering under their breath all the while. In those days, before you came to Grandgården and on the same side, there was a kiosk known simply as ‘Langeland’ and right outside this Jonas and Nefertiti ran into three pretty hefty boys of their own age. One of them was bouncing a football, a rather battered lace-up football, while another, who was missing his front teeth, was fiddling with a formidable-looking catapult. Despite a warning nudge in the arm from Jonas, Nefertiti boldly asked them the way to Haugli General Store. The boys laughed. Did they know her aunt? ‘Sh’isnæ hame,’ laughed the boys, thereby erecting a language barrier that felt no less great than the one experienced by Jonas at a later date, when he heard the Bedouins talking among themselves at the foot of Jebel Musa. A sly grin spread across the face of the boy with the catapult, as he picked up a rather sharp-looking stone from the pavement and fitted it into the leather sling.

Jonas, who had had his doubts about the trip from the very start, had plagued Nefertiti to at least let him bring his new gun, which could take several strips of caps at once, thus making a bigger bang, but Nefertiti had laughed at him: ‘Why don’t you take some glass beads and copper wire and be done with it?’ she said. ‘Or the Bible?’

The boy with no front teeth had raised the catapult into what could only be called a menacing position when Nefertiti did something unexpected: she pulled out a yo-yo which Jonas had never seen before. She shot the yo-yo out into the air in such a way that it knocked the catapult out of the boy’s hand, caught it on the rebound, much like catching a boomerang, and then, before they had time to collect themselves, she proceeded to do the most amazing tricks with that yo-yo, leaving the boys standing there open-mouthed like kids at a circus – and, may I add, this performance of Nefertiti’s really was quite unique, this being long before the days of Coca-Cola yo-yos, when almost every self-respecting kid could do ‘Around the World’, ‘Rock the Baby’ and ‘Walkin’ the Dog’.

As soon as she was done, Nefertiti invited the boys into the kiosk and stood them a small cola each and a pack of a new brand of chewing gum that came with a transfer inside the wrapper. Then she put a coin in the jukebox and played ‘Apache’ by the Shadows as if wishing to show, through the natives’ own music as it were, that she came in peace. Thus, yet another well-known scene was enacted: that in which travellers in a foreign land find themselves surrounded by hostile individuals and someone, usually a professor, saves the situation by suddenly breaking into the tribe’s own language. Because Nefertiti actually did start to talk like them. Jonas could not believe his ears as he stood there watching her waving her arms about and hearing her use words and expressions such as ‘bags ‘n’ bags’ and ‘right guid’ as well as even more obscure phrases such as ‘ah dinnae think sae’ and ‘disnae maitter a doaken’, while the Shadows provided a dramatic backdrop of sound.

‘Haugli General Store’s a bit further down Storgata,’ said Nefertiti when she came over to him afterwards.

The last stage of the journey went without a hitch, the boys even accompanied them a bit of the way, they were on their way down to Mjørud Grove in any case. Before they said goodbye, Nefertiti juggled the football about a bit, rounding off by bringing it to rest at the base of her neck, while the boys muttered something about ‘Jinker’ Jensen, star of Brann FC. And I would say that it was here, at this point, on Storgata in Rakkestad, while the boys were saying something to Nefertiti about ‘awfie nice’ and ‘nae bother attaw’, that Jonas Wergeland lost his fear of the unknown and acquired the fundamental belief that most people are to be trusted. And also, almost as important, he realized that Norway was an infinitely mysterious land, a land full of white patches.

This last, this sensation of having entered unknown territory, was only reinforced by his meeting with Nefertiti’s great-aunt, who was overjoyed to receive the letter and invited them into her little cottage on the banks of the River Rakkestad, also an ideal spot for punting or fishing for bream, perch and pike. And it was here, on a terrace in Rakkestad, surrounded by birdsong and the humming of insects, while they drank squash and ate fresh-baked raisin buns which Nefertiti had had the foresight to purchase in Dahl’s pastry shop, that her aunt produced a stereoscope, a marvellous instrument new to Jonas, and showed them pictures from all over the world, pictures in black and white which were a wonder of depth and inviting landscapes. Jonas Wergeland would never forget that afternoon when he sat on the terrace in inner Østfold and, instead of seeing the embankment on the other side of the River Rakkestad, saw the Arc de Triomphe in Paris, the Great Pyramid of Cheops in Egypt and Sugar Loaf in Rio de Janeiro.

‘From Rakkestad I could see the whole world,’ Jonas Wergeland was later to say.

Nefertiti’s aunt had been a missionary, most recently in Madagascar, and when they were finished looking at the pictures she told them not only about Tananrive but also about the even more distant country of China, where she herself had been, and the mighty rivers that run through it. She did not say much about the missionary work as such because she knew that children do not really see the point in that, but she took them into the house and showed them a map hanging on the living-room wall. Of all that Jonas saw and experienced that day, this map was the one thing which branded itself most indelibly on his memory; it was a map of the world, with lines running from Norway to all of those parts of the globe where Norwegian missionary organizations were active, their stations indicated by red pins, and in truth there were no small number of lines radiating from Norway and ending in a red pin. To Jonas, those lines seemed to extend to nigh on every country in the world, and he stood for ages just gaping at this evidence of the area encompassed by Norwegian missionaries, the host of rays and red pins, as if Norway were the centre of a red sun enlightening the whole world. Now and again a train rumbled past on the embankment outside, on the other side of the River Rakkestad, as if to show that here, too, they were linked to every part of the world.

At Rakkestad, Jonas learned that there was a Norway outside of Norway, and thus he could be said to have broken the space barrier twice that day – not only did he break free of the world of his childhood, he also broke free of Norway. And standing there in that living room gazing at the map of the world covered in all those red pins, he struggled to grasp an idea which obviously, at the age he then was, he did not manage to formulate clearly in his mind, but which he would spend much of his life endeavouring to confirm: that every country contains the whole world. And that the whole world contains something of Norway.

Opera of the Waters

So, how do the pieces of a life fit together?

Jonas Wergeland was shooting down seething rapids on a rubber raft, terrified out of his wits and staring at rock-faces, so ominously close, and waves that shot straight up into the air around them, as if someone were setting off dynamite down below: a situation so unnerving that he despised himself deeply and fervently, for, although he loved to travel, he hated putting himself at risk, hated the idea of being an adventurer, a daredevil. A lion, for example, was something he preferred to observe from a tall, four-wheel drive safari truck in the company of a bunch of camera-clicking Germans and most certainly not while creeping through the bush with a rifle in his hand.

In any case, the trip had been planned and this destination chosen largely because this was one of the few places on the map of the world on which he had not stuck a red pin to denote some sort of personal conquest, and also because he believed the majesty of the place would lend him inspiration in the final stages of preparations for his new project. And right from the start Jonas felt good there, liked being there, in the middle of what had, more than a century before, been a white patch on the map, which is to say the European map, in a place named after a white explorer which will – as everyone knows – at some point acquire a new name. It was Nefertiti’s great-aunt who first told them about Livingstone – Livingstone with his Bible and his bag of medicines, Livingstone with his left arm scarred from an encounter with a lion, Livingstone, the living stone, proof that everything does move about, even stones, Livingstone who ventured into deepest, darkest Africa, just took a run at it and jumped right in and found those smoking, thundering Falls, which were not of course called the Victoria Falls back then; a waterfall on an almost inconceivable scale, lying at the heart of one of the whitest patches on the map. Which only goes to show that one will always discover something, and not only that but something magnificent, if only the goal and the drive are great enough.

The visit had begun well, too, and Jonas had really taken to the place: the hotel with the odd-sounding Kololo name, the countryside, the climate and, not least, the sight of that mighty waterfall; all of these conspired to provide exactly the right setting, the boost he needed, as he sat there on the terrace, with the roar of the falls in his ears, a sun-downer in his hand and a notebook on his lap, putting the finishing touches to his ambitious project, Thinking Big.

It was at just such a twilight hour, as Jonas sat deep in thought on the hotel terrace, that Veronika Røed, daughter of Sir William, walked in as if it were the most natural thing in the world, wearing the most exquisitely eye-catching little number, dazzlingly beautiful, too beautiful, and greeted him as if they had just bumped into one another on Karl Johans gate in Oslo. It was all such a coincidence and was to have such fateful consequences that it could have been one of those melodramatic chance encounters resorted to in operas. Because this was, of course, Veronika Røed, the journalist, already famed for her daring, cutting-edge features from foreign parts, who, after the standard opening gambits as to why and how come, peppered with the latest news of the family, had asked whether Jonas would like to come on the rafting trip down the Zambezi which they – that is to say Veronika Røed and her photographer, a nondescript character in aviator shades and a sort of paramilitary uniform with loads of pockets – had planned for the following morning. And in a fit of curiosity and bravado, and possibly cowardice, he had said yes.

And now there he sat, wishing – too late – that he had never come and realizing that she was going to be the death of him after all, Veronika Røed; that in the end she would succeed in doing what she had tried to do time and again: kill him off. Jonas thought fleetingly of a wife and a small child, but the thought was swept away, caught by the current, the foaming eddies, along with all thoughts to do with the purpose of the trip, recharging his batteries and getting things into perspective before facing the biggest test of his whole life. And now there he was, soaking wet, hanging on to a rope, trapped in a totally confined space, in a claustrophobically narrow corridor of black basalt with not a single fork, no chance to do what he had been so intent on doing all his life – choose another direction, make a detour, cut across – because here he was being hurled straight ahead, taken from A to Z by the fastest means possible, and he knew he was going to die, a notion as absurd and ironic as the possibility of Fridtjof Nansen dying in the midst of preparations for his journey across Greenland.

They were heading for a so-called ‘a-b-c’ run, a long stretch of rapids in three stages. The oarsman yelled at Jonas and Veronika and the photographer that they were going to have to be better at shifting their weight when he gave the word. Things started to move dangerously fast; the raft pitched and juddered. Jonas felt as if he were in the middle of a hurricane surrounded by an incessant roaring. He fiddled with his life-jacket, which did not look all that reliable, a fact which one nervous individual had pointed out repeatedly back on the river bank. Jonas was conscious of his own adrenalin surging as fiercely as the waters around him. There was a smell of water, of moisture, water against warm hillsides, the smell of sweat from the man at the oars, from all of them, or from the rock-face itself. Spray was constantly flying up, everyone was sopping wet, the air around them resounded, white foam against black rock, a deafening thunder, applause from hell.

And then something happened which, oddly enough, in spite of the risk and the foolhardiness and, if I might add, the stupidity of such ventures, almost never happens on these expeditions: someone fell into the water, right at the top of the second of the three almost continuous falls, and it took a moment for it to register with an incredulous Jonas Wergeland that it was not, in fact, him. The accident occurred as they took a wave the wrong way, and the raft was flipped aside as if by a giant hand.

For one perverse, protracted second, as he clung to the rope and saw, nay, studied this person being flung overboard, how in midair the face of the individual in question went rigid with shock, how the limbs spread-eagled, Jonas contemplated the vast and quite incredible power contained within water.

The previous day he had been up by the Victoria Falls, overlooking the sheer drop into the long, narrow gorge at Knife Edge Point, a rocky outcrop every bit as grim as its name suggests, admiring the mile-wide mass of water plummeting down into the depths and feeling, of all things, as if he were confronted with a gigantic organ, possibly because of the mighty roar and the almost palpable pressure on his chest from the wall of water.

He was making a quick sketch in his notebook, concentrating mainly on capturing the sweep of the cascade – not an easy task with the paper continually being spattered by spray – when an African man approached him and inquired politely as to whether Jonas was Norwegian, pointing as he did so at the plastic bag in which Jonas was carrying his shirt and a camera and which – quite coincidentally and yet most aptly, considering that they were standing next to a rock-face curtained by water – happened to come from the Steen & Strøm, literally ‘Stone & Stream’, department store in Oslo. In all probability it was the ‘ø’ which had aroused the African gentleman’s suspicions.

The man, who was there with his family, all of them eminently well-dressed, the wife in high-heels, formally introduced himself and informed Jonas that he was a manager with Zesco, the Zambia Electricity Supply Corporation, and, after they had exchanged a few preliminary remarks from which Jonas gathered that he was here faced with a highly educated man, the Zambian asked, with not a little pride, whether Jonas had visited Kafue. As it transpired that Jonas had not visited Kafue and, to the man’s astonishment, knew nothing about the place, he went on to describe in some detail the six turbines supplied to the power station there by the Norwegian company Kværner Brug.

‘I have been to Norway,’ the man said, as if anxious to change the subject for Jonas’s sake, and again he pointed to the carrier bag. ‘I attended a festival of the sun. And I thought the Norwegians were a Christian people,’ he laughed.

Jonas had no idea what he was talking about.

‘This man told me about Odin,’ said the man.

‘That was a long time ago,’ said Jonas.

‘But it’s a locomotive,’ said the other.

Jonas still did not know what he was talking about.

‘I’ve visited the Opera at Rjukan,’ said the man.

‘I think you must be mistaken,’ said Jonas. ‘There’s no opera at Rjukan.’

The Zambian was starting to bridle, thinking Jonas was making fun of him, but as he went on to explain, Jonas began to get the picture. The man had been to Oslo in the mid-seventies, on a visit to Kværner with a Swedish consultant to check on orders for Kafue and Zambia, and while he was there a hospitable, cosmopolitan Norwegian engineer had invited him to his cottage at Rjukan in Telemark. In the course of this memorable trip to the mountains, in March no less, the Zambian had the opportunity, among other things, to look over the Såheim power station, popularly known as the Opera House, with its old towers built out of blocks of granite. It was this same exceptionally kindly Norwegian engineer who had told his visitor from abroad about Odin, one of the little steam engines used on the steep branch-line from Rjukan to the Vemork plant. ‘But of all the things I saw in Norway, nothing impressed me as much as Samuel Eyde,’ the Zambian exclaimed with real warmth as he stood there next to Jonas at Knife Edge Point in the spray from the mighty Victoria Falls. In Rjukan, he said, he had seen a statue of Sam Eyde, and the Norwegian engineer had told him about this far-sighted Norwegian who had been astute enough to recognize the potential of the power inherent in waterfalls for the growth of Norwegian trade and industry and who, in years to come, was also to establish that cornerstone of the nation’s business sector, Norsk Hydro.

‘What a pity Sam Eyde wasn’t African, and that he didn’t start up here a hundred years ago,’ said the Zambian with a little smile and went on to deliver one of the most crucial lines Jonas Wergeland was to hear in his adult life. ‘The course of history might have been quite different if he had.’

The man walked over to his family, but Jonas stayed where he was, thinking about what the African had said. Not the part about the Kværner turbines at Kafue – he had known nothing about these, an example of Norwegian engineering know-how in the middle of Africa – or about the power station in Norway so beautiful that it had been dubbed ‘the Opera’, a name which could perhaps be justified by the fact that the song of the turbines sounded so operatic. No, Jonas Wergeland was considering the name of Sam Eyde. He knew the name, of course, but had never really understood its import. For a moment, this name seemed so full of meaning that it was as if Jonas had come across a severed limb, something belonging to him, something he had lost, a finger, a hand. Eyde. Water. Eyde and water. Water as opera. Water as work, an entire industrial plant.

And now here he was, in the thick of those rushing waters himself, surrounded by all that ineffable power, power capable of lighting up a whole country; or, he thought, in the middle of an opera, because this is a truly Valkyrian ride, not to mention pure soap opera. All of the geographical features around them, the rocky gorge, the glimpses of trees two hundred metres above them, were reminiscent of a stage set, seeming almost too theatrical, too extravagant to have anything to do with reality.

It was Veronika Røed who had been tipped into the water, who had forgotten to hang on when they collided with that wave at the top of the middle stretch. She was probably pondering how best to describe this hazardous ride in her piece for the newspaper; looking for a metaphor, something along the lines of ‘a lifeboat down a bobsleigh run’.

Despite the ceasefire of sorts that had been in force, Veronika Røed was a lifelong enemy, and so, terrified as he was, Jonas could not help but feel a frisson of malicious glee at the sight of this woman and the wide-eyed expression on her face as she was hurled up and out, in an arc, arms and legs outstretched, as if this were an act of revenge devised by him personally: a horrid and involved plot which entailed him getting roped into something from which he would normally run a mile. But even while, in some malevolent corner of his mind, he was crowing with delight, he could not help but see how she was instantly dragged under by the roaring waters and stayed under for so long that she was gasping for breath and evidently in a bad way when, thanks to her life-jacket, she bobbed into view now and again amidst the foam, heading down the rapids.

At this point events took yet another dramatic turn: at the foot of the rapids, at a slight bend in the river, with everyone screaming at once and no one hearing a word, just as their own boat, which was the last in the convoy, was drawn relentlessly towards the next set of falls, Veronika Røed was sucked into a whirlpool; and even though the man at the oars – also filled with disbelief and furious with this bloody tourist who wasn’t even capable of holding on – struggled frantically to manoeuvre the boat against the current towards her, or at any rate towards the shore, it was clear to all of them that they were going to be swept away and no one could say what then would become of Veronika Røed, who was caught in this whirlpool and, what is more, looked likely to lose consciousness at any minute.

Six people remained on board, and Jonas knew that someone was going to have to jump in soon, and he wondered who it would be even while searching, out of the corner of his eye as it were, for something, a sign, although he had no idea what, knowing only that someone was going to have to jump in, and he knew it would have to be him, he was going to be forced to jump in and save his worst enemy, a woman for whom, in his heart of hearts, he felt the most profound contempt; for her and her family and all they stood for. Jonas could not think straight, he felt sick, sick to the very core of his being, sick with fear, sick with indecision, sick with indignation at having allowed himself to become mixed up in this singularly tricky situation; a murderous form of blackmail offering only one alternative.

Jonas Wergeland jumped into the water, felt how he was promptly dragged under, thinking deep inside himself, in some corner of his mind, that this is too bloody much. So she managed it after all, he thought: by sacrificing herself, by dying in order to trick him into jumping in, he too would die in the heart of darkest Africa.