Kaj Bernhard Genell
Author Site
Writing the Fiction of Tomorrow
MED KOFFERT OCH PARAPLY
Med koffert och paraply
”Det gränsar ju till det
fantastiska.”, sade Karl.” ( Kafkas Amerika , s.33. )
§1. Amerika - i.e. Der Verschollene, Den försvunne - var
det första romanprojekt som Franz Kafka, en av dem
som skapade den litterära modernismen, inledde.
Eftersom romanen är känd under namnet Amerika , en
titel som sattes av nära vännen Max Brod efter Kafkas
död (1924) vid publiceringen av det av denne redigerade
manuset, så använder jag denna titel genomgående här.
Vi tar emellertid i vår granskning av detta litterära
konstverk också fasta på Kafkas arbetstitel från 1911:
Den försvunne. Vi menar att Amerika är en roman där
vi har en hjälte som försvinner in i romanen, för att där
även försvinna ur den.
Men: Vad handlar Franz Kafkas
Amerika om, bortsett från att den handlar om ett
försvinnande, vilket i och för sig är gott nog? Handlar
romanen om myten om Amerika kanske?
Kafka avser ju med sitt Amerika troligen i viss mening
faktiskt U.S.A, ty stadsnamn som New York, Boston
och San Francisco finns med ) … men där är också
egendomliga namn, namn som tycks mer vara på
egyptiska städer…) . Vissa detaljer, typiska för USA är ju
från början lite deformerade i Kafkas tappning, bl.a.
genom den famösa inledningsdetaljen, beträffande vad
frihetsgudinnan faktiskt håller i sin högra hand. Enligt
romanen håller hon ju ett svärd i handen, och icke alls,
som den av fransmännen skänkta statyn i verkligheten,
en upplysningens fackla. Detta skenbart så obetydliga
faktum, denna alteritet, kan ju ses som emblematisk.
Många gånger kan Kafka använda sig av detta, att tidigt i
texten kasta in vad vi uppfattar som en orimlighet. Nu
kommer vi på sätt och vis in fel i varje Kafkaberättelse,
ty Kafka är ju redan helt där, från första bokstaven, i sitt
underland. Mer om det senare. Vi kommer här att möta
en fullständigt unik stilaspekt:
Vi har nämligen i Kafka en författare, som 1912 kom
upp med en ny stil och en ny teknik – som jag just ovan
påpekade – i två verk. Dessa, Domen och
Förvandlingen skapades båda i stor hast och i ren
inspiration. Med Amerika är det annorlunda. Den
påbörjades långt före, ja året före Domen och
Förvandlingen – som skrivs under hösten 1912, men
blev sedan bearbetad EFTER Domen och
Förvandlingen . Kafka arbetade alltså på sin
Amerikaroman från 1911 till minst 1913, innan han övergav den, ofullbordad.
HÖSTDRAMA
KAPITEL ETT
”Sånt oväsen!”, tänkte Edward, när han lyssnat i några
minuter. Raskt tog han sedan de fyra stegen till ytterdör-
ren och öppnade den halvt och kikade ut. Människor röda
i ansiktena sprang upp och ner för trapporna. Vissa grät,
andra skrek.
”Vad är det frågan om?!” ropade Edward.
”Någon har blivit MÖRDAD. I tvättstugan!” skrek en
för Edward Tegelkrona okänd flicka, som hade lila hår
som sträckte sig i en liten kvast uppåt himlen, och som
med båda händerna höll hårt i slagen på sin nymodiga
mörkblå duffel.
”Mördad?? Någon…”
”Ja.” sa hon. ”Det är nog bäst du håller dig inne.” sa
hon sen, förvånansvärt samlat och elakt, och Edward
tänkte att han måtte se höstlik ut, och att hon behand-
lade honom som en nolla. Kanske just därför hämtade
Edward snabbt sina nycklar inifrån lägenheten och steg
med spänst ut i farstun, låste sin dörr och gick över och
ringde på hos grannen Castor, mitt under det den vilda
framfarten av framför allt ungdomar iklädda egendom-
liga märkeskläder, som gastandes ilande upp och ner för
trappan. Hissen stod och ryckte mellan två våningar med
en ensam polis, som bankade på grind och väggar, inuti.
Castor öppnade sin dörr med enbart en liten springa på
glänt. Han såg rädd ut. Den elaka flickan försvann neri-
genom, där det snart smällde i en dörr, vilket förkunnade
att hon alltså bodde i de lägre regionerna av fastigheten,
som inalles hade sju våningar och var byggd 1940.
===================================
Hösten kommer, grå och kall. Det gör den alltid. Den
oerhörda hösten. Uppsummeringens tid, räkenskapens
rum, då mången skrider fram på stadens gator om kväl-
len omgiven av ett mörklila sken. Hösten är en undran
men den är samtidigt en störning i denna undran, ty
hösten är själv det mystiska, som så bjärt avlöser den
underfulla sommarens gåva, och den är det som samti-
digt är på väg till något annat. Alltså är hösten en plan.
En plan, byggd på en studie av en erfarenhet. Hösten är
sitt eget ressentiment, sitt vemod, sin sorg, sin smärta,
men även sitt simultana, sinnrika spel med sig själv,
inför den annalkande vintern. Hösten är inte dum. Livet
är det, som går igenom sig självt. Hösten är den plats,
där människan på nytt – på något egendomligt sätt -
måste uppfinna sig själv, inför det som kommer efter
vintern, nämligen våren.
b.) Kafka, Irony and Myth:
Kafka- a Freudo-Structuralist Analysis
The "Kafkaesque" is not just an ordinary concept of style.
Kafka used high-Romantic Ästhetik des Schwebens
and without this half ironic reference of his to the Romantic Tradition, there would have been
no Kafkaesque. The Kafkawsque - of course - is what most of all interests
us, when it comes to Kafka. But what - then - is meant by
the term "Kafkaesque"? We are - as our prime object of study
- looking into this Concept. THUS Kafka - a Freudo-Structuralist
Analysis is an analysis of Kafka's novels and short stories,
with special regard to the concept of the Kafkaesque. This book
concentrates on understanding what contributed to the famous Kafka
effect. The author explains the structural triplicity of a discourse
seen as consciousness. He also asserts how Freud, Romantic irony,
and Symbolistic literature simultaneously co-work as the mythical
subtext of Kafka's work.
Kafka created something that would become
part of defining Modern Man. Understanding Kafka is the road to
understanding Modernity. Many a Dissertation and many an Essay
on Kafka have dealt with the strange "dreamlike character" or
effect of Kafka´s novels and short stories. This has always
been dealt with as if the "kafkaesque" was brought into the
game by someone adding "Freudian symbols" to something. Nothing
could be further from the truth! This is what Genell´s book
Kafka - a Freudo-Structuralist Analysis (2021) shows.
Rather, the case is this: Kafka's structural, literary form is based upon a refined mega-structural narrative
split. It is the split between subject-"voice" and object-"voice" on the one hand, and human conscious and
unconscious mind, on the other. This is not easy either to describe or to understand! The uniqueness of
the works of Franz Kafka and the perplexing historical accuracy of the concept of Kafkaesque are both
phenomena that many readers and scholars have noticed over the years. Through the years, a fruitful
explanation of the uniqueness and accuracy of these works has been missing. Scholars have ever from
the 1930ies been noticing the extraordinary qualities of Kafka text.
Strange - Kafkaesque - features
have been attributed to the short stories and the novels of Kafka. The Kafka hero has - rightly -
been seen as a mere figure, and the alleged dream-like landscape universe has been seen as a characteristic,
and one has frequently been looking upon these entities, together with a few stylistic features, as
technical dominants in the shaping of the concept of the Kafkaesque. Genell´s Kafka - a Freudo-Structuralist
Analysis displays a model, together with a biographical survey and a historical perspective on possible influences,
that, reversely, forms a hermeneutic, actual explanation of these features, as well as to what is denoted by the concept,
from the perspective of a dynamic contextual center, explained in a model containing three levels, levels forming the
discourse, typical of Kafka.
This book tries to unravel the enigma of the concept by reference to the process of
creation and by Kafka´s implicit use of TWO unconscious levels within the universe of his most important works.
The veil of mystery may never be lifted regarding Kafka´s eerie classics of Modernity like it will never be
lifted when it comes to literature as a whole. Still, it might be essential - in order not to fall into any
metaphysical trap - to know about the technique behind the Kafkaesque to be able to reflect upon the Self-Consciousness
of Modern Man of the 20ieth century, a century so intensely marked by a dialogue between society and the works and
ideas of Sigmund Freud. Self-consciousness of Man, as it appeared with St. Augustine, the great Italian Renaissance
writers, Erasmus, Shakespeare, Montaigne, the German secular Romantics, and Hegel, swiftly developed into something
even much more complex with the appearance of Freud and the groundbreaking publication of his Traumdeutung in the
year of 1900, and, more so, with the creation of the Kafkaesque, with the works of Kafka, around the year of 1912.
The birth of the Kafkaesque can be dated to the night in the autumn of 1912 when Kafka wrote Das Urteil.
The book,
Kafka - a Freudo-Structuralist Analysis revolves solely around this strange split of consciousness and the consequences of this split.
The Kafkaesque is brought about by two phenomena, and Genell is in his book discussing only the first one. 1.) A
literary trick, built upon a split Unconscious ( strange as it of course may sound, and difficult -) and 2.) a
unique mental sensibility. WHAT IF one had a Dream of a Dream and the two of them could communicate?? That is
what happens in a Franz Kafka story! The book Kafka - a Freudo-Structuralist Analysis deals with Kafka´s novels
and short stories from the aspect of the Kafkaesque, and it does so by looking for the means that create this effect.
These means turn out to be largely technical. Thus, this book, Kafka - a Freudo-Structuralist Analysis, shows how Kafka
uses a narratological split, split consciousness, and SPLIT Unconscious of the hero to create the Kafkaesque by a rare
trick. This new book shows how Kafka became one of the most prominent artists to create and define Modernity. Kafka
took part in the thrilling creation of Self-conscience of the 20ieth century, marked by a constant dialogue with
Freud and his works. Self-Conscience as Man knew it since St. Augustine, the Italian renaissance writers Erasmus,
Shakespeare, and Montaigne, and later with the secular Romantics and Hegel swiftly developed within Modernism into
something much more complex, primarily with the appearance of Freud's "Traumdeutung" in the year of 1900. And Kafka
- rebutting Schnitzler - then set out to complete it all.
The works of Kafka appeared as a reaction to 1.) Modern
times, to 2.) his own personal alienation, and to 3.) Freud. Kafka's answer to Modernity - to the modern condition
- was astonishingly complex, but it turned out to be very accurate and accomplished right from the beginning.
When other reactions to the Modern Condition, like Hugo Ball, Appolinaire, and Dada, displayed a picture of
a chaotic and rebellious attitude to reason and morals, Kafka, much like Rimbaud actually, showed a far
more complex ability to make modern society's human-understandable itself, in a universal narrative. Kafka,
in exploring the Unconscious, as by Freud, and in doing so using a Romantic "AEsthetik des Schwebens," is
the unique discoverer of the marvels of mind, and is, in this, equal to Freud. Kafka - a Freudo-Structuralist
Analysis sets out to explain how the Kafkaesque itself generates - even today, 100 years after its birth -
an interrogation that scrutinizes the Freudian theory and our conception of the unique human consciousness.
Kafka´s relation to Freud was somewhat like a son's relation to the father. Hence, Kafka did not acknowledge
Freud's discoveries, methods, and notions as truths. But he saw them - ironically enough - as facts.
And in a sense, they were. Freud's views were historical facts in their profound influence on the
Mind and Society of the century. Kafka used Freud as part of the revealing of Modern Myth, and the
myths used by Modernity. Kafka used Freud, but Kafka added on top of Freud´s model of the human
psyche another split to human consciousness in his literary universe. Kafka thus
did not "believe in" Freud, but he was fascinated by him. Freud suited Kafka well.
Almost too well. He did not look at all to Freud to a great extent, ... did not own
several books by Freud, but he had - like many others during those years - acquired a sort of
immediate understanding of Freud's ideas through a kind of everyday osmosis. Kafka
actually started as a writer of lyrical prose, short prose poems in the style of Goethe,
Kleist, and Flaubert. But his dream was to write a novel, and it ought to be like the one
Flaubert in his usual rage once claimed he wanted to write: a lovely book about nothing
at all. So it happened that Kafka - not at all being highly intellectual or an eloquent philosopher
- developed a technique for writing novels where he was extending a sole situation into a perfectly
static ( i.e., nothingy ) drama displaying a struggle between conscious and unconscious.
It also seems as he tried to develop the style of Tieck and the Romantics. Using his
extraordinary ( perhaps autistic ) sensibility, Kafka's technique miraculously was
born on one evening in 1912, writing the short story "The Verdict." The following
day, he even asked his fiancee Felice for its meaning. Later, in 1912 with
the writing of "The Metamorphosis" and, in 1913, the unfinished "The Trial,"
his technique of displaying the Kafkaesque was already full-fledged. Here he -
almost FORCE by his own personal and social catastrophe - introduced a pseudo
plot in a kind of pseudo novel displaying a story of a split, a struggle of
a conscious instance of a person, shown as a hero-figure battling this person´s
OWN Unconscious. As it turned out, this battle caused a second unconscious part to appear
in the universe of this fiction. ( Examples can be found in Kafka - a Freudo-Structuralist
Analysis .) It seems that the hero-figure, devoid of his Unconscious, HAD TO develop such
an unconscious to be able to handle his surrounding world, which was his original Unconscious.
Here we thus are having a triadic structure and a strange meeting of two unconscious instances.
This fictional condition primarily results in a double exposure of the unconscious and a strange
transcendence of the Ego, which cannot easily be reflected upon since it has no equivalent in reality.
This is NOT EASY TO UNDERSTAND!
As a result of this Kafka-technique, which probably was unconscious (!) to Kafka himself, we are also - apart from the nausea of double Unconscious,
a kind of self-consciousness of the Unconscious - experiencing a very intense poetry, depicting utter loneliness in a framework of a sad pseudo-protest,
parallel to Weber´s, against the superpower of civil organization and law in general, as well as a hymn of the melancholy beauty of existence the like of
which nobody else in the 20ieth Century has created: The concept of "Kafkaesque" has been created upon the experience of the works of Kafka by the Collective
Mind, and in some yet not quite analyzed way, it also has extended our mode of perception. The concept
of the Kafkaesque, and the Kafkaesque itself, AS IRONY, is vital for both the being and the understanding
of our culture and being! The questions regarding this concept, raised in Kafka - a Freudo-Structuralist
Analysis questions somewhat elusive, are mainly two: [ 1. ] what IS the kafkaesque? ( that is caused by this
split ) And [ 2. ]: how did Kafka DO to create this, the" Kafkaesque"? These questions are highly original
and deal with ideological, cultural, and psychological matters and tacit knowledge, and complicated issues
concerning the ontology of fiction. Perhaps the concept of "Kafka" is an ongoing question in Modernity itself
that will prevail?
Kaj Bernh. Genell 2023.
WRITING the Fiction of Tomorrow
LITERARY fiction often succeeds in putting the individual
into situations of existence, into positions of existential
Choice, containing great dramatic tension because of the fruitful
duplicity created by the fact that fiction describing reality always has several
myths serving as background. By always having myths as a contrast to the events of fiction,
we might also, as readers, be able to judge this myth based on what we experience within the
hero, from what we know and experience from him. Reversely, we learn with the
help of the overall Myth about the hero. The contemporary Myth is, in most cases,
a false image painted by several ruling powers of the Present Society. It is the
false history set from the position of power, which the mighty, the psychopaths,
are so able to create and which the ruling class is so able to fling out, successfully
faking that Myth originates from the depths of the people from the inner depths of man
in the sincerest connection with the alleged Divine. The Myth has, throughout the ages,
been given an AURA, implying that MYTH was the Truth of Man, when, in all societies,
Myth has, in reality, only - in all its parts and always - just been continuously
serving the elite. Myth has never originated out of any hiddebn realms.
The ´ hidden realms ´ are itself a myth. Everything about
Myths has been created to lure and to fool the servants of the actual ruler.
Myth is just as false as the concept of the "people,", "hidden realms", "the soul of the people," and "the nation".
No lie is more significant than Myth itself.
In her book Short History of Myth (2003), Karen Armstrong, in the initial chapter, sets out to explain what a myth is. This chapter
is deceitful. KA seems to think that we cannot live without myths and that the truth of the Myth is its "effectiveness." It is true
"if it works," if "it gives us hope." This is, of course, all highly suspicious. Works for whom? Hope, at any cost whatsoever?
Fiction, HOWEVER, examines - consciously or unconsciously - the current Myth. By far, the most potent means fiction has is Irony.
Irony - which in many cases can also be unbeknownst to the writer - is fiction's most robust questioning tool. A society without
Irony is in great danger. A community without Irony has no correlator, question, creative Negativity, Self-Consciousness,
or archeology of Conscious or Unconscious. Irony is the key to knowledge about the Unconscious and the actual Hallucination
and the Hallucination of our Time ( Cf. Boismont, On Hallucinations.) Hallucination is not a Myth, but they have similarities.
By Irony, Myth is unmasked, but Irony also brings forth more Irony. UNMASKING MYTH is - inevitably - a RISKY occupation. In
that it is indeed a redefinition of reality, it is open to debate concerning WHAT IS REAL if we have no Myths.
Some people - if not all - will try to use this redefining to THEIR ADVANTAGE. If we do not criticize the Myths - after we have proved
that the Myths are instituted by mischievous rulers and bandits, oppressors, and usurpers, why should we at all discuss politics? If
we talk about politics, we still have a world defined by OLD MYTHS. ´ Science must begin with Myths, and with the criticism of Myths.´
( Karl Popper ) Even culture itself has been exploited to such magnitude that it is a fetish in itself.
.......>>>
IMMEDIACY OF ART
MY case is such, that I am mostly interested in literature, and most of all novels and short stories. I also read lots of good literature and try to write it as well. Thus one might say that the author of this long essay is a person who- like an awful lot of other people – is IN LITERATURE. But in the process of living such a life of consuming books, trying to write them, and doing so with the intent of maximizing my pleasure and reaching greater knowledge of life as a whole, I am of course often also speculating about our very culture as well as ART AS A WHOLE, about everything from architecture to music, to poetry, movies, painting, sculpture and stage art, etcetera, etcetera. Closely related questions concern the evolution of all these art forms, and I usually pose questions about them like: ”What is special about this art form in this society under this certain period in time?” This is mostly referred to as Cultural History or the History of Ideas, Style, and Form.
The kind of art that I look upon as the finest – thus narrowing my scope of the study a little bit – is the kind of art that is created to delight. I am not interested in the kind of art that wants to entertain, nor am I regarding the kind of art that wants to educate, dumb-strike, or provoke as any superior kind of art.
ART immediately brings DELIGHT and I am CONVINCED that the major MEANING of ART is to DELIGHT.
And I am referring to PURE DELIGHT. Not the delight of being educated, dumbstruck, or provoked. The delight I am talking about is pure, immediate, and lasting. The art object should keep its capacity to bring delight to me, in eternum. WE ALSO have to remember that in the Culture Industry there has evolved an appendix, the Critic Industry that has created a language of extraordinary power and a very peculiar kind. It is often a marvelous piece of verbal architecture and it has organized itself concerning its distance from the object of art, the artist, society and the world as a whole in an absolute INTRIGUING MANNER. The cultural scripteur, the essayist and the writer on the Meaning of Art have ALL OF THEM seen to that they are using a kind of SPECIAL most of the time utterly abstract language that BY THIS PERFECT DISTANCE satisfies the need of the public to FEEL as if they have been given a CLUE, and been given it pleasantly, and a clue, that seems to explain the NEXT step, towards an understanding of the object ( piece of ) art, the melody, the sculpture, the novel, the painting.
When the art critic thus pretends to explain this step, in a manner that always is done with extreme pretentiousness, he usually leans heavily on a tradition of colleagues that does the same thing. Nothing is generally asserted. It is just circular reasoning, where the discourse wanders between the extremes of utter subjectivity to alleged objectivity, and back again.
ALL THE CONCEPTS in art criticism purport to have a meaning that they all lack. But the general impression an art essay most of the time still gives is one of elucidating the general enigma of the position of the human soul versus the trouble and bliss of existence. The CULTURAL INDUSTRY is itself the MAIN obstacle to overcome in trying to understand the culture of our time. We have to understand that their shining pretentiousness is deliberate, a cunning method to exert power over the public domain. They are all thieves and allies of the financial parasites and crooks that see ART as a giant hustle.
KNOWLEDGE is to be able to learn, remember, and apply everything about during what circumstances various things stand out as self-evident.
TEGELKRONA OCH SKÖNHETEN
KAPITEL ETT
Det artade sig till att bli en ovanligt varm
sommar. En morgon i juni, på dagen ett
halvt år efter det han släppts ut ur
fängelset, där han suttit av ett straff för stöld av en
tavla från ett konstmuséum, vaknade Edward
Tegelkrona med en egendomlig tanke i huvudet:
”Innehållet är något mycket litet.”
Han kisade mot klockan, som stod på sin plats på
bokhyllan, rakt tvärs över rummet från sovalkoven
räknat. Klockan visade på prick sju. Samtidigt fick
han i ögonvrån en skymt av den bok, som han lagt
på nattduksbordet kvällen innan. Han hade faktiskt
bara läst en halv sida i den, och detta berodde, som
han tänkte, på det svåra språket. Boken var en tidig
roman av Joseph Conrad. Denne var, enligt Edward,
en av de största författarna någonsin. Och vad
Edward nu tänkte, var, mer precist, att
innehåll i
romaner oftast är något litet. Formen i en roman är,
i kontrast till detta, något betydligt större. Denna
tanke var egentligen inte hans, men kom från en
en
skrift av Jean-Paul Sartre, vars titel han för länge
sen hade glömt. Han glömde friskt numera. Tanken
var väl heller inte så egendomlig i sig, men den var
ju egendomlig, åtminstone för gemene man, att
vakna med.
Edward hade förresten vaknat ovanligt sent för att
vara honom. Och till råga på allt direkt ur en dröm.
Han hade emellertid vaknat av den alldeles vanliga
anledningen: att han, under det han drömde, frös
lite av att han tidigare hade svettats. Det var alldeles
förfärligt varma dagar denna juni. Svettats hade han
gjort dels av värmen, dels i anslutning till drömmen.
Han var så frusen av sig, att han kunde frysa mitt i
sommaren av minsta aning om fukt eller drag.
Denna natt hade drömmen, mer än med Sartre,
haft att göra med en slags återträff med gamla
lumparkompisar. Allihop hade, i drömmen, vistats
på en loppmarknad, typ
Emmaus. Där hade Edward
inhandlat en infanteristmössa av vilken det, genom
en märkning frampå felaktigt framgick att han var
menig, medan han ju i själva verket faktiskt var
korpral! Drömmens ångestmoment hade delvis
handlat om hur han diskret skulle göra sig av med
den helt vilseledande mössan. Och detta, medan
mängder av överåriga kamrater från den gamla goda
tiden irrade runt omkring honom, sneglande,
gestikulerande och argumenterande kring alla sina
egendomliga hobbies, som de införskaffat som
pensionärer, för att inte helt duka under för synd,
dryckenskap och tristess. Således hade en äldre
vithårig kamrat, med stora tatueringar, som Edward
inte hade en aning om vem det var, eller för den
delen varit, börjat odla små lämlar som tidsfördriv.
Kamraten förklarade omständligt och med ett
intensivt, löjligt och påträngande allvar hur
kollossalt viktigt det var för halvråttorna att ha
väggar i sin boning, perforerade med små hål, för
ventilationens skull. Samtidigt var då plötsligt hela
den antikvariatsliknande lokalen helt översvämmad
av dessa små djur, irrande hit och dit, plirande
betraktade pensionärerna, som då och då nämnde
något om sina minnen av kantiner, kulsprutor,
handgranater, och ärtsoppor. Men mössan blev
Edward inte av med.
Utan att öda tid på att försöka komma ihåg mer av
drömmen, trots att den säkerligen hade ett
väsentligt budskap, så drog Edward nu av sig den
vita t-shirten och sträckte sig efter en ny, som han
redan kvällen före hade placerat på den stora, 20 år
gamla, JVC-radioapparaten intill.
Så svängde han benen över sängkanten medan
han vällustigt lyssnade till de somriga, och för
honom idylliska, ljuden från gatan som trängde in
genom den halvöppna balkongdörren. Sedan
placerade han de stora bleka fötterna på
parkettgolvet, som antingen inte alls var kallt, eller
var kallt, men inte kunde uppfattas som någondera
av Edward, på grund av nervskador han fått,
förorsakade av forna tiders rökning, stora intag av
olika tabletter och superi.
En motorcykel startade på gatan. ”Antagligen
Spontlav”, tänkte Edward. Spontlav var en av
grannarna, som behagade köra en
Harley.
Äldre människor har delvis andra nöjen än yngre.
För Edward var sömnen, särskilt efter tiden i
fängelset, ett klart nöje. Spontlav åkte motorcykel.
Allt denna dag andades frid. Föga anade Edward
hur fel detta intryck faktiskt var.
INVITATION TILL EN GÅRD PÅ LANDET (2024)
Det hade börjat blåsa storm en vecka tidigare, men eftersom det var höst,
så var det ingen som blev speciellt förvånad över det. Fast det var bara september,
vilket gjorde att man lite till mans bekymrade sig. Blåsten var hård, den var ovanligt
jämn också, och kom rakt västerifrån, från Brittiska öarna. Vindstyrkan höll
sig hela tiden kring 25 meter per sekund. Denna jämnhet var nästan gåtfull,
eller den var det, och adderade till företeelsen en air av mystik.
De publika meteorologerna, flickorna och pojkarna som serverade prognoser
i tv-kanalerna, dessa människor som vanligtvis håller en lätt ironisk distans
till sitt publikum, verkade nu allihop förvirrade, och till och med klentrogna,
eftersom en sådan vindsituation inte alls stämde med vad de hade lärt sig om sådana
förhållanden på de meteoroligiska instituten. Så delade de – omedvetet och i hemlighet
– upp sig i två inriktningar: vissa meteorologer på TV låtasade som ingenting, medan
andra i dunkla ordalag antydde att man i vädersituationen hade att göra med
krafter som var okända, och som i sin tur förebådade något mycket värre än en
stadig västvind på 25 meter i sekunden över Sveriges västkust.
