And I had known that I would have to make her fall in love with me while we were sitting there; as soon as I stood up the spell would be broken. So I had talked. And talked. I had talked myself up to one metre eighty-five. I can do the talking bit. But she had interrupted me when I was in full flow.
‘Do you like football?’
‘Do … do you?’ I asked, amazed.
‘QPR are playing Arsenal in the league cup tomorrow. Interested?’
‘Certainly am,’ I said. And of course I meant in her. I couldn’t give a toss about football.
She had worn a blue-and-white-striped scarf and screamed herself hoarse in London’s autumn mist at Loftus Road as her poor little team, Queens Park Rangers, were being thumped by their big brother, Arsenal. Fascinated, I had studied her impassioned face and derived no more from the match than the fact that Arsenal wore attractive red-and-white tops while QPR had diagonal blue stripes on a white background, making the players look like lollipops in motion.
At half-time I had asked why she had not chosen a big winning team like Arsenal instead of comical small fry like QPR.
‘Because they need me,’ she had answered. Seriously. They need me. I intuited a wisdom I could not fathom in her words. Then she had laughed that gurgling laugh of hers and drained the plastic beaker of beer. ‘They’re like helpless babies. Look at them. They’re so sweet.’
‘In baby outfits,’ I said. ‘So, suffer the little children to come unto me, is that your life’s motto?’
‘Erm,’ she had answered, angling her head and looking down at me with a broad beam, ‘it might become that.’
And we had laughed. Loud, liberating laughter.
I don’t remember the outcome of the match. Or, rather, I do: a kiss outside a strict girls’ brick boarding house in Shepherd’s Bush. And a lonely, sleepless night of wild dreams.
Ten days later I was looking down into her face in the flickering gleam of a candle stuffed into a wine bottle on her bedside table. We made love for the first time, and her eyes were closed, the vein in her forehead stood out and her expression varied between fury and pain as her hip bones thrashed against mine. The same passion as when she had watched QPR being sent out of the league cup. Afterwards she said she loved my hair. This was a refrain I had heard throughout my life, yet I seemed to be hearing it for the first time.
Six months were to pass before I told her that because my father worked in the diplomatic service it didn’t necessarily mean he was a diplomat.
‘Chauffeur,’ she had repeated, pulling down my face and kissing it. ‘Does that mean he can borrow the ambassador’s limousine to drive us from the church?’
I had not answered, but that spring we got married with more circumstance than pomp at St Patrick’s Church in Hammersmith. The absence of pomp was down to my talking Diana into a wedding without friends and family. Without Dad. Just us, pure and innocent. Diana provided the circumstance; she shone like two suns and a moon. Chance would have it that QPR were promoted that same afternoon, and the taxi crawled back home to her bedsit in Shepherd’s Bush through a jubilant procession of lollipop-coloured flags and banners. Joy and merriment everywhere. Not until we had moved back to Oslo did Diana mention children for the first time.
I looked at my watch. Ove ought to be here by now. I raised my eyes to the mirror over the counter and met those of one of the blondes. Our eyes held for just as long as it takes to misunderstand whether we wanted to or not. Porn-attractive, good surgical work. I didn’t want to. So my eyes drifted away. In fact, that was precisely the way my only shameful affair had started; with eyes holding on for a little too long. The first act had taken place in the gallery. The second here at Sushi&Coffee. The third act in a small flat in Eilert Sundts gate. But now Lotte was a thing of the past for me, and it would never, ever happen again. My gaze wandered round the room and stopped.
Ove was sitting at the table by the front door.
To all outward signs, reading Dagens Næringsliv, a financial paper. An amusing idea in itself. Ove Kjikerud was not only totally bored by the movements of stocks and shares and most of what was happening in so-called society, he could barely read. Or write. I can still picture his application for the security boss job: it had contained so many spelling mistakes that I had burst out laughing.
I slid off the stool and walked over to his table. He had folded up Dagens Næringsliv and I nodded towards the newspaper. He gave a fleeting smile to indicate that he had finished with it. I took the paper without a word and went back to my place at the counter. One minute later I heard the front door close and when I peered at the mirror again, Ove Kjikerud had gone. I flicked through to the shares pages, discreetly wrapped my hand around the key that had been left there and slipped it into my jacket pocket.
When I returned to the office there were six text messages waiting for me on my mobile phone. I deleted five without reading them and opened the one from Diana.
Don’t forget the private view tonight, darling. You’re my lucky mascot.
She had added a smiley with sunglasses, one of the sophistications of the Prada telephone I had given her on her thirty-second birthday this summer. ‘This is what I wanted most!’ she had said, opening the present. But we both knew what she wanted most. And which I was not going to give her. Nonetheless she had lied and kissed me. What more can you ask of a woman?
3
PRIVATE VIEW
ONE METRE SIXTY-EIGHT. I don’t need a brain-dead psychologist to tell me that compensation is a factor, that small physical stature is a great motivator. A surprisingly large number of the world’s great works of art have been created by small men. We have conquered empires, thought the smartest thoughts, laid the most beautiful female stars of the screen: in short we have always been on the lookout for the biggest platform shoes. Many an idiot has made the discovery that some blind people are good musicians and that some autistic people can work out square roots in their heads, and this has led them to conclude that all handicaps are a blessing in disguise. Firstly, that is nonsense. Secondly, I am, despite everything, not a dwarf, just marginally under average height. Thirdly, over seventy per cent of all people in the highest management positions are of above-average height in their respective countries. Height also has a positive correlation with intelligence, income and popularity surveys. When I nominate someone for a top job in business, height is one of my most important criteria. Height instils respect, trust and authority. Tall people are visible, they can’t hide, they are masters, all nastiness air-blasted away, they have to stand up and be counted. Short people move around in the sediment, they have a hidden plan, an agenda which revolves around the fact that they are short.
Of course, this is rubbish, but when I propose a candidate for a job I don’t do it because the person in question is the best but because he is the one the client will employ. I provide them with a head that is good enough, placed on the body they want. They are not qualified to judge the first; they can see the second with their own eyes. Like the stinking rich so-called art connoisseurs at Diana’s exhibitions, they are not qualified to give an opinion about the portrait, but they are capable of reading the artist’s signature. The world is full of people who pay serious money for bad pictures by good artists. And mediocre heads on tall bodies.
I steered my new Volvo S80 round the bends, climbing up towards our new, beautiful and somewhat too expensive home on Voksenkollen. I bought it because Diana had this pained expression on her face when we were being shown round. The vein on her forehead that tended to expand when we made love had turned blue and was quivering above her almond-shaped eyes. She had raised her right hand and drawn short strands of fine, straw-coloured hair behind her right ear as if to hear better, to listen carefully to be sure her eyes had not deceived her; that this was the house for which she had been searching. And there was no need for her to say a word; I knew it was. Even as the gleam in her eyes died when the estate agent told us that they already had an offer of one and a ha
lf million over the asking price, I knew I had to buy it for her. Because this was the only offering I could make to compensate for talking her out of having the child she wanted. I no longer quite remember the arguments I had used in favour of abortion, just that none of them had been the truth. Which was that even though we were two people with 320 exorbitant square metres, there was no room for a child. That is, no room for a child and me. For I knew Diana. She was, in contrast to me, perversely monogamous. I would have hated the child from day one. So instead I had given her a new start, a home, and a gallery.
I swung into the drive. The garage door had sensed the car a long time ago and opened automatically. The Volvo glided into the chilly darkness and the engine breathed its last as the door slid to behind me. I went out through the side door of the garage and along the flagstone path leading up to the house. It was a magnificent construction, vintage 1937, designed by Ove Bang, the functionalist who considered cost to be less important than aesthetics and was thus one of Diana’s soulmates.
I often thought that we could sell up, move into something a bit smaller, a bit more normal, a bit more practical even. But every time I came home and it was like now, with the low afternoon sun causing the contours to stand out clearly, the play of light and shade, the autumnal forest behind, glowing like red gold, I knew it was impossible. That I couldn’t stop. Quite simply because I loved her and could therefore do nothing else. And with that came the rest: the house, the financial drain of a gallery, the costly and unnecessary demonstrations of my love and the lifestyle we could not afford. All to alleviate her longing.
I unlocked the house, kicked off my shoes and deactivated the alarm within the twenty seconds I had before a bell would go off at Tripolis. Diana and I had discussed the code for a long time before reaching an agreement. She had wanted it to be DAMIEN after her favourite artist Damien Hirst, but I knew that was the name she had given our aborted child, and thus I insisted on a random collection of letters and numbers that could not be guessed. And she had given in. As always, when I stood up to her, tough on tough. Or tough on soft. For Diana was soft. Not weak, but soft and flexible. Like clay where even the slightest pressure leaves a mark. The strange thing was that the more she gave in, the bigger and stronger she became. And the weaker I became. Until she towered above me like a gigantic angel, a firmament of guilt, debts and bad conscience. And however hard I grafted, however many heads I brought home, however much of Stockholm’s central office bonus pot I raked in, it was not enough to bring me absolution.
I walked upstairs to the living room and kitchen, took off my tie, opened the Sub-Zero fridge and helped myself to a bottle of San Miguel. Not the usual Especial but 1516, the extra mild beer that Diana preferred because it was brewed according to purity laws. From the living-room window I looked down on the garden, the garage and the neighbours. Oslo, the fjord, Skagerrak, Germany, the world. And discovered I had already finished the beer.
I fetched another and went down to the ground floor to change for the private view.
Passing the Forbidden Room I noticed the door was ajar. I pushed it open and at once saw that she had laid fresh flowers by the tiny stone figure standing on the low, altar-like table beneath the window. The table was the only furniture in the room and the stone figure looked like a child monk with a contented Buddha smile. Beside the flowers were a pair of small children’s shoes and a yellow rattle.
I went in, took a swig of beer, crouched down and ran my fingers over the figure’s smooth bare head. It was a mizuko jizo, a figure that according to Japanese tradition protected aborted children, or mizuko – meaning a water child. I had brought the figure home after an unsuccessful headhunt in Tokyo. It was the first months after the abortion while Diana was still shattered, and I had thought it might be of some comfort. The salesman’s English had been too poor for me to understand all the details, but the Japanese idea appears to be that when the foetus dies the child’s soul returns to its original fluid state – it becomes a water child. Which – if you mix in a bit of Japanese-style Buddhism – is waiting to be reborn. In the meantime you carry out what is known as mizuko kuyo, ceremonies and simple sacrifices to protect the unborn child’s soul and, at the same time, the parents against the water child’s revenge. I never told Diana about the last part. To begin with, I had been happy, and she had seemed to find comfort in the stone figure. But as her jizo gradually became an obsession and she wanted it in the bedroom, I had to put my foot down. And I said that from then on that she should not pray or make sacrifices to the figure. Although on that particular point I had never been tough. For I knew that I could lose Diana. And that would be unforgivable.
I went into my study, switched on my PC, searched on the Net until I found a high-resolution picture of Edvard Munch’s The Brooch, also known as Eva Mudocci. Three hundred and fifty thousand on the legal market. Hardly more than two hundred on mine. Fifty per cent to the fence, then twenty per cent to Kjikerud. Eighty thousand to me. That was the usual split; hardly worth the trouble and definitely not the risk. The picture was in black and white. 58 x 5 cm. Just right for a piece of A2 paper. Eighty thousand. Too little to pay for the next quarterly instalment of the mortgage. And nowhere near enough to cover the previous year’s deficit on the gallery that I had promised the accountant to pay during November. For some reason the intervals between decent pictures turning up were getting longer and longer, too. The last one, Model in High Heels, by Søren Onsager, had been more than three months ago, and even that had barely brought in sixty thousand. Something would have to happen soon. QPR would have to score a flukey goal, a mishit cross that – deserved or otherwise – would send them to Wembley. That sort of thing happened, I had heard. I sighed and sent Eva Mudocci to the printer.
Champagne was the order of the evening, so I rang for a taxi. After getting in, I just said the name of the gallery, as usual – it was a kind of test of our marketing skills – but, also as usual, the driver just looked at me in the mirror, bewildered.
‘Erling Skjalgssons gate,’ I sighed.
Diana and I had discussed the location long before she had chosen the rooms. I had been keen to make sure it lay on the Skillebekk–Frogner axis since that is where you find the clients with the means to pay and other galleries of a certain niveau. To be located outside the cluster can mean an early death for a new gallery. Diana’s ideal had been the Serpentine Gallery in Hyde Park in London, and she had been determined that the gallery should not face onto one of the busy thoroughfares, like Bygdøy allé or Gamle Drammensvei, but should be situated in a quiet street where there was room for contemplation. Furthermore, a set-back location emphasised exclusivity, signalled that it was for initiates, connoisseurs.
I had expressed agreement, thinking that perhaps the rent would not have to be ruinous after all.
Until she had added that in that case she would be able to spend money on extra square metres for a salon where there could be receptions after private views. In fact, she had already looked at a vacant site in Erling Skjalgssons gate, which was perfect, the best of the best. I was the one who had come up with the name: Galleri E. E for Erling Skjalgssons gate. It was, moreover, the same formulation as the best run gallery in town, Galleri K, and hopefully showed that we were targeting the affluent, the quality-conscious and the cool.
I had not argued that the pronunciation in Norwegian made it sound like the gallery. Diana didn’t like that kind of cheap gimmick.
The lease had been signed, the extensive decoration work was under way and our financial ruin secured.
When the taxi pulled up outside the gallery I noticed more Jaguars and Lexuses parked up and down the pavement than usual. A good omen, although of course it could have been because of a reception in one of the surrounding embassies or that Celina Midelfart was having a party in her GDR fortress.
Bass-dominated eighties ambient music poured out through the speaker system at a pleasantly low volume as I entered the rooms. It would be followed by the Go
ldberg Variations. I had burned the CD for Diana.
It was already half full despite it being only half past eight. A good sign – usually Galleri E clientele didn’t appear before half past nine. Diana had explained to me that packed private views were seen as vulgar; half-full ones accentuated the exclusivity. My experience was now, however, that the more people there were, the more pictures would be sold. I nodded to the left and right without anyone reciprocating and headed for the mobile bar. Diana’s permanent bartender, Nick, passed me a glass of champagne.
‘Expensive?’ I asked, tasting the bitter bubbles.
‘Six hundred,’ Nick said.
‘Better sell a few pictures,’ I said. ‘Who’s the artist?’
‘Atle Nørum.’
‘I know his name, Nick, just not what he looks like.’
‘Over there.’ Nick angled his big ebony-black head to the right. ‘Next to your wife.’
I noted that the artist was a hunk of a man with a beard but that was all. Because she was there.
A pair of white leather trousers clung to long, slim legs, making her seem even taller than she was. Her hair hung down on either side of her fringe, which had been cut straight, and this perpendicular frame heightened the impression of Japanese comic-strip art. Under the spot lighting, the loose silk blouse shone almost bluish-white on her narrow, muscular shoulders and breasts, which in profile resembled two perfectly formed waves. My God, she would really have set off the diamond earrings!
Reluctantly, my gaze left her and swept around the rest of the room. Those invited stood making polite conversation in front of the pictures. They were the usual suspects. Rich, successful financiers (suit with tie) and celebrities of the right sort (suit with designer T-shirt), the ones who had actually achieved something. The women (designer clothes) were actresses, writers or politicians. And then there was, of course, the flock of young, so-called promising and allegedly poor, rebellious artists (jeans with holes, T-shirts with slogans) whom in my own mind I termed QPR. When, at the beginning, I had wrinkled my nose up at these elements on the guest list, Diana had argued that we needed ‘some spice’, some life, something a bit more dangerous than art patrons, calculating investors and those who came just to have their public images massaged. Fair enough, but I knew that the scum were here because they had asked Diana nicely for an invitation. And even though Diana knew that they were here angling for buyers of their own works, it was well documented that Diana could never say no if she was asked for a favour. I noticed several people – mostly men – occasionally casting furtive glances in Diana’s direction. Be my guest. She was finer than anyone they would ever get. This was not just an assumption, but an unshakeable logical fact as she was the finest of the finest. And she was mine. Just how unshakeable was something with which I tried not to torment myself. For the time being I found peace of mind thinking that she seemed to be permanently blind.